Roslyn Meyer Art

Hoar Frost in the Morning By Billy Childish 2022 Signed and numbered Archival pigment print on heavyweight acid-free matt stock 30.5 x 30.5 cm Edition of 200

The Mountain That Is God By Billy Childish 2022 Signed and numbered Archival pigment print on heavyweight acid-free matt stock 38.3 x 30.5 cm Edition of 200

Tahoma and Two Trees, 2024 Archival print on heavy matt stock paper 30.5 x 30.5 cm Edition of 200 signed and numbered by the artist Billy Childish is a prolific British artist, musi...

'Garden of Dreams', 2018 Damien Hirst Glicée print on aluminum 49.6 x 36.5 in. / 126 x 92 cm. Edition of 75, Signed by the Artist Damien Hirst is a British contemporary master artis...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Hemisphere' Hemisp...

Light through the Trees By Billy Childish 2022 Signed and numbered Archival pigment print on heavyweight acid-free matt stock 39 x 30.5 cm Edition of 200

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Hemisphere' Hemisp...

White Wolf By Billy Childish 2020 Signed and numbered Archival pigment print on heavyweight acid-free matt stock 30.5 x 44 cm Edition of 200

Rebecca Skinner’s “Rusted Web” is part of a her "Texture" series taking an up close look at rusted and/or weathered metal. With tones of yellow and orange, this 18 x 12 inch abstract...

'Cannizaro', 2018 Damien Hirst Glicée print on aluminum 49.6 x 36.5 in. / 126 x 92 cm. Edition of 75, Signed by the Artist Damien Hirst is a British contemporary master artist and e...

Series: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 24" x 30" 32" x 40" 48" x 60" 57" x 72" 67" x 84" Editions of 3 + 2 Artist...

Titled after an episode of Star Trek, The Paradise Syndrome features new work by Sonny Assu. Combining Indigenous content with appropriated images and text from marine chart maps, covers from Choose Your Own Adventure gamebooks, and science fiction television programs, this exhibition continues Assu’s exploration around the intersection of Indigenous Peoples and North American pop culture. In the Star Trek episode The Paradise Syndrome, Captain Kirk suffers from amnesia when he arrives on an alien planet, which is inhabited by a society of people who resemble Indigenous Peoples in North America. Kirk is found by a group of women who believe that he is a god and then take him back to their community. At the end of the episode, he is attacked when they realize he is not a god. Spock and McCoy are transported to his rescue, but in the midst of the conflict, a tribal priestess who Kirk developed a relationship with, is killed. In this exhibition, Assu presents two series of digitally altered prints inspired by fact and fiction. The first series depicts ovoids superimposed onto digital scans of paintings by Emily Carr and A.Y. Jackson, framed by gamebook covers. The prints feature alien forms descending, referencing a Star Trek: Voyager episode titled Tattoo. In this episode, Chakotay meets the Sky Spirits, aliens who visited Earth thousands of years ago. They met nomadic humans who had great respect for the land and other animals. The Sky Spirits were so impressed that they gifted the nomads with an inheritance that would allow them to thrive and protect their world. When the Sky Spirits returned thousands of years later, they found that the weapons and diseases of invaders from other lands had decimated the nomadic ‘Inheritors’. Chakotay’s tattoo was the mark of an Inheritor and signaled to the Sky Spirits that some of the Inheritors had survived. Assu’s gamebook prints expand on this fictional story, incorporating aspects of our colonial history in the Pacific Northwest. This exhibition is a playful investigation of challenging issues. By incorporating nostalgic gamebooks from the 1980s, Assu alludes to the discovery of his Kwawaka’wakw heritage, which has recently led him back to living in his ancestral land. The second series of Assu’s prints in this exhibition depict digital illustrations, inspired by Indigenous copper shield symbols, that are superimposed onto navigational marine maps...