All of this year’s Nextfest visual art venues are members of the 124th Street Business Association, and are situated in a convenient walking corridor. You could make your own way through the 2013 Nextfest Art Walk OR on Thursday June 13, Visual Art Curator Steven Teeuwsen will be conducting a guided tour beginning at 5:30 PM at Atomic Zombie. Meet Nextfest artists and local business owners! The tour will finish at Edmonton’s newest outdoor market – The 124 Street Grand Market – after which The 124th Street Business Association invites you to a reception at The Duchess Bake Shop.
Close to the Bone finds beauty in the brutish, creating a sense of iconography with images of ‘found objects’ in the south-western Australian bush landscape. Stasiw considers the process of creating art with bones a sublime act of recycling. Described as “post- modern shamanism”, this series of photographs meditatively explores the finite and eternal character of Gaia. The process for this Canadian- Australian photographer is ultimately a spiritual act…and also a bit grubby and rock & roll!
Propanganda Salon | 10808 124 ST
Painting has become a means of immortalizing the relationships and moments of my life with my friends. Every painting is sourced from my own candid photography, taken when spending time with my friends at their homes, on everyday visits or momentous occasions. The image is referenced from the photograph but altered in ways that, while preserving the structural and compositional elements, makes the everyday extraordinary. There is a wide spectrum of development from loose, rough construction marks to highly rendered portraits. The portraits and other moments of skin showing are rendered to the highest fidelity to pay them high respect. Certain objects and clothing are also highly rendered. The colour is often chosen subjectively and intuitively, and married with realism in order to heighten the sense of reality to the rougher more expressive areas, and create a feeling of altered perception and a charged atmosphere.
The Clever Rabbit | 10724 124 ST
Hofer has worked in several art media including drawing, printmaking, and painting with oils and acrylics. Hofer has long focused on female portraits and has explored themes of objectification, fetishism, the emotional self, and the female sexual psyche. Her new series is inspired by the music movement funk, the title of the series is Bring on the Funk. Of her artistic practice, Hofer says: “My work and contemporary process is the by-product of my life experiences. My thought process revolves around colour, composition and the process of making art. And in the immediacy of the moment, my process describes my mood and perception of self. As a result, the painting I am creating is the outcome of my subconscious environment.”
In these two paintings, Hung has focused on the human state of mind and its role as an interpreter of the urban environment while exploring visual texture and composition in relation to human social behaviour. “There has always been a strange tie between man and their man-made objects: either disconnection, or a strong sense of sentimental values. I’ve painted these two paintings to portray that strong sense of emotion.”
I try to demonstrate scenes of what I am dealing with in a particular point in time. In these scenes I am able to find peace and create a visual representation of the solutions to problems I have faced in my my life. A victim of my own demons, I try and demonstrate the consequences of actions perpetuated from others and myself through my artwork. It has granted me a different perspective on life that has cyclically had an effect on my work. With the knowledge that I have learned and gained from my experiences, I hope that I will continue to evolve as an artist.
Blossoms Cafe | 10721 124 ST
My current work consists of an exploration of portraiture and the vulnerability of the subject matter when the medium is allowed to take the lead in an organic way. My work is intended to create recognizable shapes through ephemeral layers of mark-making while adapting to the fluidity of the materials used, as well as the nature of the surface on which they are created. The addition of more restrictive graphic elements, such as patterns or geometric arrangements, allows every component of the piece to collaborate towards balance within the viewer in its own particular way.
Forest for the Trees is an extended, process-based meditation on the impact of structured urban spaces on the human connection to the natural world and to physicality. Within the cityscape, trees are one of the few representations, or remnants, of the natural world. Trees’ physical shapes are both simple and highly complex; a few simple lines on a page provide a readily identifiable shape – “tree” - that we understand from early childhood. This body of work uses trees as a vehicle to explore human responses to phenomenon that occur in daily life, and by extension, the human propensity to categorize and dismiss those phenomena. We explore the tension between the idea ‘tree’ and the trees as unique objects by distilling the forms of trees into their essence through repetition, while simultaneously keeping each representation unique.
His most recent series of work is an exploration of found medical photographs from the early 19th century documenting institutionalized women, deemed ‘mad’ by an archaic logic. These images showed individuals wielding expressions of such clarity and passion so rarely seen amongst the supposedly sane, prompting the triptych Madwomen. Further sketches are a preliminary exploration of cell phone users. More specifically, the series of oil paintings in progress will highlight the unsettling sight of a person buried in their hand-held screen, divided entirely from their surroundings by a glowing device. The intent of the series is to question how human this form of interaction truly is.
Matthew Allan Clarke
There is a point of tension between combat and dance, anger and joy, violence and celebration, where the line blurs, and it is no longer an easy task to distinguish the opposing emotions. This tension that is created by these opposing forces is the emotion I would like to evoke in the viewer. Drawing inspiration from Edgar Degas’ dancers, I found my source of inspiration in a contemporary setting of antagonism, booze, absolve, and ballet. That setting became the heavy metal concert.
Through this body of work I am hoping to evoke a tension within a narrative through the use of faux-naïf and realistic imagery. The imagery I gravitate towards is centered on the figure, as well as the deconstructing of these forms through the use of automatic application. As a result the characters I fuse have child- like, austere renderings, but also moments of clarity that are akin to my education in realism.
I create art because I am constantly working to spread joy and colour to the people around me. I work almost exclusively with a mixture of watercolour, ink and acrylic in my paintings and I draw from a large variety of inspirations and subjects: Classical Antiquity, The Old Masters like David Fredrich, and Fantastical Castles and scenery. I do, however, primarily draw from nature and contemporary subjects such as the city and the people within it. I have a particular interest in contrast between black and white and bright colours.
mudHoney Salon | 10838 124 ST
Through my religious upbringing, a constant visual has been traditional iconography; therefore, iconography is the foundation of my work. It is my intention to pursue Korean pop artists as my subject within forms of iconography. The balance between tradition and modernity is something that I want to preserve within my work. With the inclusion of marquetry, it references the Korean tradition Najeon Chilgi lacquerware techniques that include wood, mother of pearl, and tortoise shell inlay.
My body of work is created using the mediums of painting and printmaking, as I intend to draw on the histories of these mediums, along with popular culture references to situate my works historically and provide some context. The images are created through a combination of personal photographs and found collage elements. This is in an effort to build on the Neo-Dada principles revealed in the works of Jasper Johns and Robert Rauschenberg, who through their use of collage and assemblage invited viewers to participate in their works in an activated way.
Samantha Williams- Chapelsky
Samantha Williams-Chapelsky’s work focuses on the human figure and the natural landscape. These two genres of paintings have historically been separated, but her paintings challenge history and reflect a congruency and similarity between the two styles. The unexpected solitude of the human figure in her paintings and the engulfing natural elements, breaks the borders of simply a figure within the landscape, and becomes a figure broken into the landscape. Her work has evolved to explore the relations between imagination and reality in a natural environment. The process begins with an idea of a place, real or imaginary, and the placement of a figure into the natural landscape. Often sculptural models are referenced. The figure is then broken and distorted to become a part of the landscape. The work proceeds through a series of sketches to a full- sized drawing, which is transferred to canvas.
mudHoney Salon | 10838 124 ST
My work explores architectural structures within perspectival landscapes to create imagined environments. I am interested in creating “spatial strangeness” while playing with ideas of absurdity within the landscape. These spaces embody a sense of escapism. The environments clearly do not exist in our reality, but feel alluring and create a curiosity in the viewer. The work is a response to a discontentment within myself. A perpetual state of restlessness, out of which is born a need to escape the current state.