This That - Carin Covin & Alistair Rance

 

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This catalog was created for the exhibition titled “This That - Carin Covin & Alistair Rance” at Headbones Drawers Gallery, Vernon, BC Canada, April 6 - May 5, 2013 ISBN: 978-1-926605-61-6

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carin covin a att th th s iis th th alistair rance

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the drawers headbones gallery contemporary drawing sculpture and works on paper carin covin alistair rance this that april 6 may 5 2013 headbones gallery

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exhibition catalog this that carin covin alistair rance copyright © 2013 headbones gallery this catalog was created for the exhibition titled this that carin covin alistair rance at headbones drawers gallery vernon bc canada april 6 may 5 2013 artwork copyright © 2010-2012 carin covin artwork copyright © 2012-2013 alistair rance commentary by julie oakes copyright © 2013 julie oakes 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 isbn 978-1-926605-61-6 rich fog micro publishing vernon canada

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this that april 6 may 5 2013 commentary by julie oakes

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headbones gallery 2013

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this that carin covin alistair rance most languages have a this and a that in french there is comme si comme sa in italian it is questa quella this and that distinguish one from another i want this one not that one within the same frame two abstract painters carin covin and alistair rance can be brought within the same frame and yet their work is vastly different because they have perspectives at odds from one another yet operate in the same arena the pairing of their works in this that creates a rich conversation that is informed intelligent and personable carin covin s imagery is based in the real world her newest paintings began as a series of sketches made at a summer workshop in wells bc they are related to a graveyard the paintings bear a family resemblance to the origin but like a new generation the works express themselves in a language that is not always clear to the generation of representation in the colour sketches that began this body of work there is a cemetery hinted at one with a secluded overgrown private aura an iron fence or the decorative top of a commemorative stone caught covin s eye and she began to work with it the twists and turns of the shape veer slightly away from the first painting to the second and continue the permutation or translation in increments the link to that first physical shape dims from its first meaning and a brand new presence overrides the origin covin s work is interesting to read chronologically for her path away from the subject and into the non-objective can be discernible the transparency of method doesn t lessen the impact of the more developed resulting image but rather validates the image granting a hook to on which to attach comprehension carin covin s studio atop a mountain where the view sweeps over okanagan lake it is a perspective shared with the weather high flying birds and the regal though blousy pondersa pine quiet and secluded the studio is conducive to contemplation a painting that resembles the pieces of a cubist jigsaw puzzle has been executed in grey scale the space is interlocked folding upon itself layered engaging and mysterious it resembles nothing that i have seen covin began this painting by doing drawings of the dishes drying in the rack covin dwelt on an insignificant quotidian corner of

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domesticity and allowed it to expand far beyond the representational borders of objective art as an abstract non-objective painting it wields muscle alistair rance is in the garage pouring his paint the floor is sticky with blobs of colourful acrylic his youngest son peels the paint from the floor and hands it to his mother who explains that he is going to make a new art piece from the remains of his father s work rance s finished paintings are outside propped against the railings of a deck that backs onto a large yard and then the edge of the forest large canvases are leaning against the side of the house alistair s older son is up one of the trees rance has four children it is a lively family atmosphere born and raised in b.c rance did his graduate work at nscad nova scotia college of art and design and then returned to vancouver where he studied architecture he and his family now live in armstrong but they are soon to settle in nova scotia there is an architectonic echo in rance s work as if at the site of a high-rise building under construction even the smaller pieces appear larger than they are for the strokes of paint appear to extend beyond the boundaries of the canvases the method is discernible a floor drip method much like jackson pollock s but the drips are wider and more plastic done in a shiny acrylic that appears to have been arrested in viscosity there is no subject reference in rance s paintings they are simply the materials and the gesture of the artist so that the work relates only to the act of painting covin examines an aspect of physical reality and then transforms it into nonobjective painting rance s work may suggest the physical plane after the fact as in the architectonic overtones ­ but it is aesthetically divorced from the real world so that an open-ended relationship is permitted to the person who is in front of this series rance has not given any clues to representation covin s work also holds a secret ­ the initial impetus the source rance lets us know where his arm has been as he swings his drips he records his physicality in this way covin paints where her mind has gone to holding back

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information on her physical movements alistair rance is expressing carin covin is considering rance is an action painter covin an abstract painter having paired the painters in the exhibition this that headbones gallery presents two approaches to non-objective abstract art that are diametric to one another although not opposed the exhibition brings forth two committed identities working in the same genre julie oakes 2013 carin covin monument iv 2011 acrylic and paper on panel 24 x 12

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monument vii 2011 acrylic and paper on panel 54 x 48

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carin covin

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monument viii 2011 acrylic and paper on panel 54 x 48

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carin covin

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summit of the loftiest crag 2013 acrylic on canvas 36 x 48

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alistair rance

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