OKANICON ICONAGAN

 

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This catalog was created for the exhibition titled “OKANICON ICONAGAN” at Headbones Drawers Gallery, Vernon, BC Canada, December 8 - January 20, 2013

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okanicon okanicon iconagan headbones gallery iconagan

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the drawers headbones gallery contemporary drawing sculpture and works on paper okanicon iconagan december 8 january 20 2013 doug alcock david alexander amar from afar katie brennan glenn clark carin covin robert dmytruk jen dyck leonard epp diane feught john hall joice m hall jock hildebrand angelika jaeger byron johnston jim kalnin ann kipling geert maas steve mennie david montpetit julie oakes katherine pickering kevin spetifore carl st jean heidi thompson deborah wilson headbones gallery

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exhibition catalog okanicon iconagan copyright © 2013 headbones gallery this catalog was created for the exhibition titled okanicon iconagan at headbones drawers gallery vernon bc canada december 8 january 20 2013 artwork copyright © doug alcock david alexander amar from afar katie brennan glenn clark carin covin robert dmytruk jen dyck leonard epp diane feught john hall joice m hall jock hildebrand angelika jaeger byron johnston jim kalnin ann kipling geert maas steve mennie david montpetit julie oakes katherine pickering kevin spetifore carl st jean heidi thompson and deborah wilson commentaries by julie oakes copyright © 2013 julie oakes julie oakes awestruck commentary copyright © 2012 stanzie tooth rich fog micro publishing printed in vernon bc 2013 printed on the ricoh spc 811dn 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 headbones gallery requests for permission to use these images should be addressed in writing to headbones gallery www.headbonesgallery.com front cover headlike shape #7 katherine pickering back cover gravitas jock hildebrand isbn 978-1-926605-58-6 rich fog micro publishing vernon canada

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okanicon iconagan commentaries by julie oakes

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headbones gallery 2013

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okanicon iconagan there are a number of reasons why the okanagan works for artists the okanaganlifestylep ro videsthe opportunity to work without distractions the physical environment is spectacular even inspirational and there is enough of a community of artists here to dull the edge of isolation making the area more of a respite than a retreat okanicon iconagan is an exhibition of drawing painting and sculpture that gathers together under the bright blue roof of headbones gallery one iconic piece from each artist okanicon iconagan has resulted in the makings of a spectacular exhibition okanicon iconagan includes work by those who have lived in the okanagan for many years they continue to leave their marks ann kipling s artistic practice relates directly to the landscape in her drawing from the okanagan doug alcock in collaboration with bryan ryley has branded the southern entry into vernon with the 1992 sculpture legacy and kelowna has two doug alcock works in their public art collection geert maas sculpture garden in kelowna is a landmark and his work graces both private and public spaces such as the bronze family the bathers on the beach in kelowna byron johnston opens the exhibition with his iconic chrome piece faces gracing the foyer both jim kalnin and johnston have made major cultural contributions

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both with their own work and as mentors to students who have graduated from ubco in fine arts artists who are now included within this line-up carin covin katie brennan angelika jaeger and katherine pickering have been their students and are now part of okanicon iconagan katie brennan s imagery is suggestive of the whirls cascades and reflections of water carin covin s text-based painting vacillates between pattern and message katherine pickering has imbued a resonating psychological mysticism and the skullpture angelika jaeger s pillar of steel topped by a crystal skull was created at alcock s studio and stands beside his large forged works fem form and fold form the artists of okanicon iconagan have connections based not only on proximity but on mutual support and encouragement many have works of the others within their own private collections often gained through trades in okanicon iconagan reality exceeds our expectations in the shiny surfaces of john hall s immense still life joice hall s ten -foot stretch of okanagan landscape the detailed snowiness of glenn clark s winterscape the perfection of amar from afar s past present and future and totem by diane feught jen dyck delightfully skews reality jock hildebrand presents a bronze piece cast at his studio a hoof from a giant horse doug alcock s harrier landing made of forged steel rings with talent alcock is featured in the fall 2012 issue of icon okanagan magazine julie oakes bronze

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ophelia is garlanded by the herbs and flowers that shakespeare cites in hamlet deborah wilson s jade bronze and steel awakening is stunningly gorgeous while leonard epp and david montpetit push the power of ceramics and glass to the near breaking point david alexander presents a large piece fresh from the studio lyrically titled reluctance casts an abyss beneath surface shadows heidi thompson s latest color field painting is transcendently resplendent okanicon iconagan will introduce the work of robert dmytruk recently moved to the okanagan from edmonton with a large abstract painting steve mennie s latest work combines optical hard edged precision with expressionism unique each to their own vision and medium are the clean cuts of kevin spetifore s paper pieces and carl st jean s cabinetry on opening night december 08 from 6-9 pm there was a performance by neil cadger titled sound cans dale zeitch a kelowna busker was playing accordion a selection from the 1984 exhibition artists and their work portraits by heidi thompson in the upstairs gallery lent a short-term historical perspective to okanicon iconagan in the upstairs gallery julie oakes 2013

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headbones gallery 2013

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okanicon iconagan doug alcock david alexander amar from afar katie brennan glenn clark carin covin robert dmytruk jen dyck leonard epp diane feught john hall joice m hall jock hildebrand angelika jaeger byron johnston jim kalnin ann kipling geert maas steve mennie david montpetit julie oakes katherine pickering kevin spetifore carl st jean heidi thompson deborah wilson

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john hall west kelowna bc giorgio morandi spent a life time painting a limited number of simple objects mostly vases and jugs in order to master his tonal qualities and understand the physicality of the object he repeated the same objects many times over with the hopes that in doing so the mysterious uniqueness that constituted those objects would through paint be comprehended john hall uses difficult and illusive objects as his subject matter and masters them he chooses very specific material such as the red cellophane in scar and casts doubt over the reason for its existence the reason for the choices of objects is curious and even the title hints at a hidden narrative but why this arrangement of things exists at all is not clear the painting of the objects however is more than clear there is an overabundance of information as if hall has challenged this difficult corner of existence for the sole purpose of conquering it with a flourish the painting stands in as a representation for the objects but it doesn t represent anything familiar other than the materials there is a mood to scar a heady nuance as if the act of witnessing this painting implicates us in some purposeful act through glitter and glam the still life becomes a pulp fiction cover insinuating meaning while delivering foils it is representational painting at its purest when the choice of object depends solely on hall s will to represent it it is an accurate albeit larger representation of reality it is as divorced from being disturbed by narrative as a minimalist abstract painting the painting s personality relies on the objects painted hall s hand is absent his gesture minimal yet his skill magnified each hall painting is a one-shot morandi a lifetime of accomplishment with hall s elevated understanding and relationship to paint brought bear.

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john hall scar 1995 acrylic on canvas 60 x 73

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jen dyck salmon arm bc jen dyck s collages celebrate human events that arise from the emotional states that make up the sociological fabric of our life and times they depict contemporary affairs not specific to place but to where we are at in our heads often containing a humorous jab at personal situations they act like the best comedies employing wit cynicism criticism and sardonic strategy to bring the pathos of the human condition into play there is a tattered quality to the surfaces as if the magazines that have been the source of dyck s raw material have been used as coasters for mixed drinks and then packed into a box in a garage that has not been cleaned in years the maudlin gesture of sleeping beauty flung upon the crumpling couch lips darker than ruby slightly parted is recognizable and in the recognition any cloud of angst attached to her condition dissipates in appreciation of the perfection of the pose like a stylised play where everything from the set to the lines to the costumes tell a common narrative sleeping beauty tells a tale of the heart at once jaded and yet invested with belief the gnaw of the aristocratically featured portrait upon the fainting lady s slender fingers is the perfect sarcastic touch to turn the iconic sleeping beauty into a familiar friend.

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jen dyck sleeping beauty 2012 collage on panel 12 x12

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