Jen Dyck - Collages

 

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This catalogue was created for the exhibition Jen Dyck and Steve Mennie at Headbones Gallery. May 11 - June 22, 2013 ISBN: 978-1-926605-62-3

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jen dyck collages

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the drawers headbones gallery contemporary drawing sculpture and works on paper jen dyck collages may 11 june 22 2013 headbones gallery

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artist catalog jen dyck collages copyright © 2013 headbones gallery this catalog was created for the exhibition of jen dyck and steve mennie at headbones gallery vernon bc canada may 11 june 22 2013 artwork copyright © 2011 2013 jen dyck close call commentary by julie oakes copyright © 2013 julie oakes rich fog micro publishing printed in vernon 2013 layout and design richard fogarty 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 jen dyck c/o headbones gallery www.headbonesgallery.com front cover third rate romance 2012 collage on panel 16x16 inches back cover brown eyed susans 2012 collage on panel 16x16 inches isbn 978-1-926605-62-3 rich fog micro publishing vernon canada

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jen dyck collages commentary by julie oakes

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jen dyck collages at headbones gallery 2013

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sleeping beauty 2012 collage on panel 12x12 jen dyck close call the intimacy of jen dyck s collages act as a direct channel into the psyche each piece requires a close examination the subject is caught unaware of the perusing eye so that a tendency towards voyeurism can be satisfied since it is impolite to stare at human oddness within the scope of observance some settings are banned from close scrutiny if not invited yet curiosity shapes not only the areas chosen for study but also the variety and depth of knowledge to take a long objective look ­ a good stare ­ at things quite freaky is a pleasant sensation if a longer duration is rewarded with increasing information the sense of fulfillment is greater dyck s scenarios are weird even when they depict familiar situations she offers more complexity than a common sum up a face is quite often not one face but many the perspective from which the face is viewed varies the handling of the face is not always careful indicating that dyck s consideration for the assembled characters has oscillated between careful cuts ragged rips and overlaps she even adds folds and tucks the quality of the original material comes to the paste in varied conditions rather than trying to correct an old fold or a worn page it is allowed to exist with a patina of time left uncorrected collage grants a liberty of associations to the artist and dyck has taken full advantage of her freedom this is a plebeian art an art for the people first used by the dadaists who realised that the advent of the printing press didn t necessarily inhibit an artist s creation images could be commonly owned rather than the specificity of authorship that constituted artworks up until the advent of printed matter the dadists used collage to reference reality while still dealing in abstraction dyck s collages are more like the surrealist s oeuvre they are reminiscent of the dream works of max ernst who used collage to present a juxtaposition of images within a frame that could then create new relationships between the images thus imitating the touch-and-go illogical world of the sleeping mind it is a task to gain attention in a world over-run with images and sensations dyk s work commands engagement once it has been gained the small journey from the distance to peer closely at the work enables a closer proximity to the interior musings of another mind to enter into a simpatico with one of the quotidian

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opening night 2011 collage on panel 12x12 groupings within the exhibition it is not necessary to understand the subtleties or ranking of the larger art world dyck hits a popular mark built on her dreams the work depicts interior physical spaces where people interact they are constructed of snippets from national geographic life ladies journals whatever magazine is worthy of her cull the rooms are peopled with characters in zany situations charged with the illogical inventions and happenstance of her remembered sleeping state and they result in a wacky celebration of the emotional states that make up the sociological fabric of our life and times they depict contemporary affairs not specific to place dyck alludes to where we are at in our heads often containing a humorous jab at personal situations dyck s collages act like the best comedies employing wit cynicism criticism and sardonic strategy to bring the pathos of the human condition into play despite the utterly contemporary components media crops many of the collages suggest other times or places such as the dutch interiors of vermeer genre paintings stage sets filmic concept drawings or retro fittings the palettes have a designed premeditated determination i dreamt of baking bread then a man rose from the stove and that was the beginning of the piece potluck explains jen dyck a mannequin with a rusty colouring is perched atop a fireplace but what follows around the periphery of the central theme is harder to deconstruct there are double-vision doorways like frames from one action picking up a sequence the precise story of potluck escapes from sight it is as if something has been put into motion and witnessed without all of the reasons revealed so that a nonsense world is framed in stop motion yet an uncanny familiarity in the work haunts like a nudge in the ribs of awareness julie oakes 2013

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potluck 2013 collage on panel 16x16 inches

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sales are down 2013 collage on panel 12x12 inches

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ground floor 2013 collage on panel 16x16 inches

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on all floors 2013 collage on panel 16x16 inches

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