Erika Dueck

Reiterate

2019

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...

SKYLAR FEIN was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a g...

This unique art piece is made of the original 35mm film of the movie, framed in an oak wood frame and lit with lit with RGB color changing LED light that can be controlled and light changed with smartphone app CONTROLLER for iOS and Android system. “I started by working with the idea of the large film...

The majesty of woodland animals is celebrated in these striking metal sculptures by the Six Nations Mohawk artist Adam Monture. Monture’s beautiful paintings of woodland animals—deer, bears, wolves, turtles, loons and herons were re-imagined as 3-dimensional sculptures hand forged from aluminum. Each animal and bird appears as a ‘double’—one image mirrors the other; the exterior sculpture...

The majesty of woodland animals is celebrated in these striking metal sculptures by the Six Nations Mohawk artist Adam Monture. Monture’s beautiful paintings of woodland animals—bears, deer, wolves, turtles, loons and herons were re-imagined as 3-dimensional sculptures hand forged from aluminum. Each animal and bird appears as a ‘double’—one image mirrors the other; the exterior sculpture...