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University of British Columbia BFA / BA Graduation Exhibition 2009
DEPARTMENT OF ART HISTORY, VISUAL ART, and THEORY
foreword “I Like It In Theory” is the graduating exhibition of the 2009 BFA/BA visual art students
from the Department of Art History, Visual Art and Theory at the University of British
Columbia. This exhibition brings young artists together and reflects their thoughts on
the world today, sparking a myriad of possibilities and the potential for the creation of a
fertile artistic space.
Gu Xiong
Barrie Jones
Exhibition Coordinators
Department of Art History, Visual Art and Theory
University of British Columbia
March, 2009
2
We would like to thank Whitney Friesen, Robin McNulty and the Fourth Year Graduation
Exhibition Committee for coordinating the exhibition and catalogue. Without their
dedication, this exhibition would not be possible.
We would also like to thank April Liu for her thoughtful essay; Kathryn Blair, Yeri Lee,
Jaime Yee, and Nancy To for their work on designing the catalogue, posters, and website;
Jeff Chang and Vitor Munhoz catalogue photographers; as well as Deana Holmes, Richard
Prince, Marina Roy and Barbara Zeigler, our catalogue editors for their beautiful work on
the publications, and Phil McCrum and the staff of our new Department Art gallery. Also
we would like to thank Lauren McKenna, who organized a successful fundraising event
for us.
We would also like to thank the Urbanova Centre of Art and Design and Hazzard
Screenprinting for their generous financial support, demonstrating the importance of
strong links between our Department and the local community. Finally, this exhibition is
undertaken with the support of the Faculty of Arts and the Department of Art History,
Visual Arts and Theory, University of British Columbia. Their assistance is very much
appreciated.
acknowledgements
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i like it in theoryI
When a diverse group of visual artists decides to use the first-person pronoun I,
a strong sense of community emerges. The singular and personal I (or eye) of this
group coaxes me to view this exhibition as a body of work arising from a web of
intersubjectivities and not simply a loose collection of disparate objects created by
a graduating class of art students.i I am inclined to consider the group’s interwo-
ven experiences and even their private moments of sharing- the painful or cathartic
art critique sessions, the long hours spent working side by side, and the meeting of
different minds in the midst of visual experimentation. These relationships are now
channeled through the collaborative project of a student–organized exhibition and
catalog, generating a momentum of creative energy that will ripple out far beyond
the boundaries of “self ” or the works on temporary display.
i In this instance, I borrow the term intersubjectivities in reference to Mieke Bal’s theorization of intersubjectivity as “a concern that binds procedure with power and empowerment, with pedagogy and the transmittability of knowledge, with inclusiveness and exclusion.” Mieke Bal, Travelling Concepts In the Humanities: A Rough Guide (Toronto: University of Toronto Press, 2002) 11-1�.
�
Like ItAn ambiguous verb-like and object-lt follow here, demanding a degree of reader
participation in locating and performing meaning. Does It refer to the works in the
exhibition? the years of visual arts education? or Art itself, with a capital A? The
deliberate ambiguity seems to reveal this statement as a question in disguise…
In Theory...or is it in theory? I can’t help but detect a hint of sarcasm or unease. According
to Webster, the colloquial use of the phrase in theory takes on the meaning of
“unproved assumption” or “a hypothesis assumed for the sake of argument or
investigation.”ii It is often used to undermine a viewpoint or to draw attention to the
tenuous nature of any particular theoretical position. This tongue-in-cheek phrase
thus actively carves out a position of distance, a strategic move on the part of the
organizers to signal a critical awareness of exhibition practices.
As a ritualized act, exhibitions organized by graduating art students are often seen as
celebratory rites of passage, marking the end of formal training while publicizing the
students’ achievements in a juried show. As students reach the official threshold of
ii For full definition, input “theory” at http://www.merriam-webster.com .
�
“trained artists,” they are encouraged to gain some professional skills in packaging,
marketing, and exhibiting themselves to the public. A graduation exhibit in the
sanctioned space of a prestigious university is one such opportunity, yet it also
sets up a limited framework for what artists are supposed to do professionally. This
creative group is telling us that they are not blindly accepting any such framework,
but taking these notions to be “in theory” and not necessarily “in practice.”
When asked about their title, the participants have expressed a desire to reframe
their works as processes rather than finished oeuvres.iii In other words, they are not
necessarily satisfied with the works as they are; they would rather move forward
and consider these pieces as launchpads for future ambitions. The participants
are also quite resistant to the idea that these works would represent themselves
or their education as a whole. Thus they are encouraging viewers to approach the
works as transitional stages belonging to larger creative trajectories, studies, and
investigations. Not all of the participants see themselves as independent artists or
designers. Many of them plan on pursuing careers in advertising, arts administration,
art therapy, business, journalism, teaching, community service, etc. They will bring
their creative skills to bear on a variety of professions and this may entail expanding
or extrapolating on the “works in progress” seen here. With this in mind, what might
be the larger, more extensive implications of learning to communicate visually? The
possibilities are indeed endless.
iii Live and email interviews were conducted over the course of several weeks with many of the participants in this exhibition.
�
Eager to move beyond the disciplinary boundaries of “Art” or “academy,” these
participants have a wealth of ideas on how to apply their skills to the “real world.”
Instead of packaging themselves as polished artists churned out of an academic
art institution, this group is keen on strategizing alternative modes of self-
representation, whether it involves summoning art theories or not. They will draw
not only from their education, but also from a wide variety of cultural, linguistic, and
professional backgrounds that is so characteristic of Vancouver’s colorful population
and geography.
Having such unique skill sets will form a vital advantage in a world where creative
thinkers must meet the shifting pressures of mainstream fashions, unstable markets,
and various institutional agendas. The works in this exhibit engage these pressures
through various approaches; participants are interested in wide-ranging issues, from
deforestation to media bombardment to experimental philosophy to linguistics.
There is no unified theme in that regard, yet there is a genuine collaborative spirit
to meet the challenges of the future through visual experimentation and critical
thinking.
April Liu, PhD Candidate, Art History
University of British Columbia
March 11, 2009
�
Anna AkkermanPeace Lilies
Spathiphyllum, Silk Thread2’x1.�’’
2009
In a world increasingly devoid of non-anthropogenic space, our recognition of guilt and
our concern for absolution finds voice in the popularization of terms like “rehabilitation,”
“remediation” and “virgin forest,” terms that coyly disclose and conceal the complexity
of our relationship with the natural. I am fascinated by the idealization of completeness
or wholeness, and the notion of the repaired whole as it shapes and reflects this rela-
tionship. In exploring techniques traditionally used to repair broken items and materials,
repositioning them for use in a natural setting, I want to make art that makes clear the
distinction between the original and reconstituted environment by presenting conspicu-
ous disruptions in the form of mechanisms of both healing and destruction. As Martin
Heidegger writes, “The modes of conspicuousness, obtrusiveness, obstinacy have the
function of bringing to the fore the character of objective presence in what is at hand.”
�
anna akkermanAnna AkkermanUntitledphotograph20”x10”200�
In reconciling the conflicting images of wholeness and deficiency the viewer is forced to
create the whole in her mind, the ideal in reaction to the obstinate brokenness.
In my art, I utilize intrusive methods of healing or repairing the natural environment
to bring out the tension between the current environmental rhetoric and the current
environmental reality. I work with living, growing media to infuse an element of unpre-
dictability and to highlight our own lack of control over a complex and dynamic ecosys-
tem. Ultimately I am concerned with environmentalism’s focus on reuse and cyclical
return and I seek to expose the ways recycled items still echo their former use. My art
traces these echoes through works that evoke the play of absence and presence and the
concept of wholeness.
9
danny askew
Coming from a background in film production, I strive to make pieces that are as beauti-
ful and technical as they are engaging and evocative of narrative. I’m interested in story-
telling and using my art as a means to explore and reflect the world we live in, in hopes
that my work will make those who view it take pause and reconsider that world. Through
the use of photography, video, and digital media I hope to tell the stories of technology
in our lives and examine the growing confluence between ourselves and our machines.
Some are quick to claim a mythic revolution while others portend the decay of humanity
10
- my work navigates these extremes and reflects and contributes to this ongoing dis-
course.
My pieces have touched on ideas of synaesthesia, multiplicity, memory, death, and the
uncanny. Technology and the digital are my instruments as well as my subject matter, a
relationship which is fundamental to my work and the broader concepts it explores.
Danny AskewWarhols
digital print ��”x2�”
200�
11
annabelle au
12
Much of my works are reifications of ideas that transpire from the literary works I am
preoccupied with. During my studies in contemporary literature, I was introduced to
“Postmodern Automatons” (199�), in which Rey Chow provides an imposing view of
postmodernity: she expounds postmodern mass culture as an automatizing site, as the
site of automatons - objects subjected to social exploitations whose origins are beyond
their individual reaches and on which processes of mechanization perpetuate.
I feel that Chow’s idea of the postmodern automaton acutely resonates with the issues
my work explores: the self-perpetuating nature of the postmodern machine, whether it
concerns the technologization of culture or the automatization of the body.
Essentially, I am interested in investigating the ramifications of a globalized culture in
homogenizing ‘individuals.’ This stems from a frustration at what seems like an inability
to escape the clutches of pop culture and to become ‘outside’ the system. All attempts
seem to conclude in the consistent substitution of one system for another. This exas-
peration is further compounded by the fact that this, within itself, is operating in the
system.
1�
Annabelle AuUntitled (Dirty Laundry series)
digital print �2”x��”
200�
katelynn baileyMy practice employs photog-
raphy, both as a medium and a
subject for investigation. My in-
vestigation begins with the use
of simplistic everyday moments
wherein I employ associations
with movement, perspective and
perception. This can be seen in
my process, which includes the
use of repetition, fragmentation
and overlapping imagery. In the
series ‘Ordinary Spying’ I explore
ideas of space in relation to the
observer, enabling one to experi-
ence ordinary activities from an
entirely different perspective.
When I take photographs, I feel
it is important to use angle, per-
spective and framing to form the
1�
composition. I exploit the per-
spective by using a topographi-
cal approach to documenting my
subject matter, allowing for a
dynamic and charged documen-
tation of typical and somewhat
ordinary social situations.
This allows for an exploration
of relationships, experience,
social dynamics, friendship and
social space with respect to my
subjects. I continue with my
interest in social dynamics and
exploring fragmentation through
the mediums of painting and
printmaking.
1�
Katelynn BaileyOrdinary Spying Series
digital photographs 1�”x2�”
200�
kathryn blair Kathryn Blair
cupcakesplaster, paper
�’x�’2009
1�
I like to work with ideas I can’t entirely wrap my mind around–ideas that need
something else to play them out more completely, to speak to their complexities and
internal variations.
Kathryn Blairspraypaint, aluminum10’x�’2009
1�
nadine bouliane
Nadine BoulaineUntitled I, II & III
drypoint, ink, graphite, acrylic and silk tissue on paper2�”x�0”
20091�
My work reflects a fascination and unease with the body as an outward projection and
defining image of self. I look to the interior of the body as a source of imagery that resists
social classification. By referencing classical portrait busts and anatomical drawings, I
attempt to bridge the clinical with the intimate and resist the function of portraiture as a
signifier of class, race or gender. Fragmented and generalized busts act as impersonalized
specimens rendered sympathetic with personal gesture.
I am interested in hair as an alterable costume with the potential to both conceal and
reflect persona. I use “hair assemblages” to assert the narrative possibilities of hair in
signifying race, gender and class, and resist this with arrangements that ambiguate the
ethnicity and gender of the forms. These interchangeable figurations mimic muscle and
tissue, returning to the interior space of the body in which subjectivity is neutralized.
I use drypoint images printed on silk tissue paper to emulate skin and the mechanized
print process to render a generic quality of physicality. I enjoy a playful approach to
painting and drawing, exploring the possibilities of invention through texture shape and
colour. I am sustained by the surprise of seeing one element come into play as others
are suppressed.
19
micky burgessjordana hovisdina maani
Micky Burgess, Jordana Hovis, Dina MaaniSovrum
interactive digital installationdimesions variable
2009
20
A bedroom can be a terrifying place as it can cause
one’s imagination to run wild; certain noises and events
can elicit a fear of ghosts, intruders and the unknown.
Working collaboratively, this project consists of an ac-
tual installation of a bedroom in the gallery space, invit-
ing and enticing participants to undergo the sometimes
awkward dynamics of the safe and relaxing refuge of
the bedroom. The bedroom is a place where conscious-
ness and dreams meet, reality and imaginings convene;
it can be safe and comforting, or can harbour fears and
trauma. Inspired by the case of the IKEA “Tarzan” bed,
a specific piece of furniture that has caused deaths to
its inhabitants, SOVRUM is a room that we can identify
with as it has a common IKEA decor, but also carries
traces of the “Tarzan” tragedy. The installation itself
uses the uncanny familiarity of the bedroom, and the
audiences’ participation activates sinister, creepy and
sneaky consequences, causing one to second guess the
room’s ordinariness.
21
jeff chang
My two final pieces encompass an exploration of time and space and the way in which
we perceive them. Both of these works are conceptualized from the emptiness and trans-
parencies we have the power to see, but often don’t. They manifest these empty voids in
Jeff ChangSilence of Sixty Seconds
digital photograph ��”x��”
200�
22
our urban landscape, through the use of multiple layers, which allows me to selectively
show the ordinarily unseen fragments in a scene. The layers collectively uncover an al-
most limitless space yet, at the same time, conceal reality.
Jeff ChangIlluminateddigital photograph ��”x2�”2009
2�
2�
maria alejandrina coatesAs an exploration into the theory and process of (de)construction, I am often drawn to
the concepts of borders, barriers, limits and overall relationships between an image, or
subject, and the space that produces it. Within a range of media including but not limited
to sound, video, still photography and print media, I find myself enacting interruptions or
fragmentations to the formation process of a specific image or narrative, and its subsequent
visual manifestations.
An investigation into the construction of images through the de-stabilizing properties of
“static” or “noise” produces an aesthetic experience that morphs its original conception
into one that acts, invades or perhaps discomforts. My main focus is one that addresses
issues of a gendered nature and the representation of women. By employing this method
of (de)construction, I offer a critical look into popular visual culture and the ways in which
it acts, paired with recent technological innovations, to reproduce distinct ideologies and
power relations.
Maria Alejandrina CoatesCATV �1 MONOdigital photograph20”x1�”200� 2�
ania derbis
2�
Dr. Martin Fisher (Art therapist and founder of the Toronto Art Therapy Institute) stated
that, “Art is the language that cuts across the existing boundaries and obstacles that
stand in the way of human communication. Art is a universal language.” I try to use
this language to study the complexity of human relationships and how individuality is
shaped before, during and after this interaction. What human beings are capable of feel-
ing, expressing and withholding is a paradox that my art addresses in a personal manner.
Using expressive techniques, figures and personal symbols, I create works that help my
personal discovery of self, relationships and family ties. However, what love we feel in
these interactions (and of course others), could not exist without hate, and the ability of
humans to inflict both on each other has a great impact on my subject matter. Art for me
is a window into the soul and I hope that my art speaks to these common human emo-
tions and makes viewers feel less isolated in their shaping of identity.
Anna DerbisCloseracrylic on canvas�0”x�0”200�
2�
jessica delisleJessica Delisle
2010! (Paint-by-number series)nail polish on map
�0”x2�”200�-2009
2�
Jessica Delisle is a compulsively neat detective
whose tidy world goes to the dogs when she’s
forced to team up with the only witness to a
crime–a drooling slob of a junkyard dog named Rob-
in McNulty. Not exactly man’s best friend, McNulty
turns Delisle’s life upside down, wrecking Delisle’s
home, career and budding romance! It’s a hilarious
non-stop test of wills between this mismatched
duo, leading to the most unlikely friendship you’ve
ever seen!
Jessica DelisleSwing (S&M Macrame Series)
polyproylene, steel 20”x1��”
200�-2009
29
sahar edelkhani
To me, art is a never-ending search for the self. Rather than defining myself by my art,
I discover myself within it. Rather than limiting myself to any specific subject matter,
medium, technique or style, I choose to examine and push the limits of various topics
and media. In paint-based works, for example, I explore the boundaries of the paint-
�0
ing medium and compare it to the medium of music. In other works, I explore issues
of identity and culture through combining three-dimensional sculptural elements with
printed surfaces manipulated by paint. I am interested in understanding how a medium
may be used to strengthen as well as to reinforce the ideas I choose to investigate.
Sahar EdelkhaniPainterly Music
acrylic on canvas�0”x200”
200�
�1
david gilbarDavid is primarily a video artist
and a photographer, whose
works seek to explore the
limitations of language and the
possibilities of mixed-media in
communicating the subjectiv-
ity of experience. His works
often critique the tendency
for archetypal categorization
in the arts and does so with
an unconventional lightness,
a quality often culturally as-
sociated with compressed,
dramatic narratives. His
current studies involve an
investigation and re-evaluation
of the possibilities presented
by cinema through altering the
passive reception of film. He
�2
David GilbarSelf-Portrait
acrylic on board20”x21.�”
200�
has begun this through the use of dynamic, animated decision points embedded within a
film that enable the viewer to actively alter the progression of the cinematic experience
within a limited framework.
David GilbarUntitled #� (Removal Series)
digital photograph�”x12”
200�
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julia higgs
��
There is transformative potential.
There is a radical imaginary.
Julia HiggsUntitledSurvey #�: To Range one’s Gaze Leisurely Over, LumSpaceFriday February 1�th 2009 ��
As an artist, I am interested in using my art as a means to discuss contemporary
concerns that affect us globally. I feel that is it important for artists to address the
growing social, political and environmental challenges that the world is facing. My
current body of work is focused on the environmental implications of global trade.
In awe of their silent magnitude, I was drawn to the massive cargo ships floating in
English Bay. Watching their seemingly effortless movement, I began to ponder the
sarah hodsonSarah Hodson
Untitledacrylic on canvas
��”x�2”200�
��
Sarah HodsonUntitledacrylic on canvas�0”x�0”200�
amount of energy and resources which they actually represented, and I was inspired to
use them as a symbol in drawing attention to the environmental implications of global
trade. While these seemingly gentle beasts of burden may appear benign from a distance,
they are actually a major participant in the misuse and abuse of the world’s natural
resources that are being reaped at an absolutely alarming rate. With this body of work,
I’ve drawn attention to the misuse of the ocean as a medium to transport these massive
ships, loaded with the spoils of a ransacked environment.
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I am interested in exploring “memory.” I believe that memory is like a dream at night, like
a tattoo that becomes embedded within. It is comprised of a conglomeration of experi-
ences, a fragmentation of our own perception not experienced as a single picture nor a
movie, but as a flow of indefinable images and sensations that originate within us. They
include internal violence and unspeakable dilemmas that signal the suppressed vulner-
ability and insecurity existing within us. I combine old photographs, ink with watercolor
sketches, silkscreen printing and digital overlays to explore the blurry boundaries of real-
ity and imagination I experience through memory.
soyoung hyun
Soyoung HyunUntitleddigital print, ink, watercolour on paper20”2�”2009 �9
My voice gets muddled here. I want to play the wry critic, but doing so here would seem
pretentious and redundant. It’s just, sort, of. Where do I go from here? Where does art go
from here? What sort work should be done? What sort of ideas should be put forward?
And I guess, that’s where the crux of my education has lain for the last little while.
I work by thinking about what constitutes art and why, and then respond to that.
brian joeBrian JoeBag Wall
spray fixative and plastic bagsdimensions variable
200�
�0
Brian JoeHogan’s Alley Throw LEDs, magnets, tape, people dimensions variable200�
Sometimes, good work comes out of it, other times, perhaps not so much. What you see
on this and the adjacent page are two of my explorations into that theme. When does a
plastic bag become art? Why? What do LEDs do to a space? What makes it art? How do
these things function?
�1
I see myself in the symbols that I write. With every line and every curve of the letters
formed, my thoughts are transfixed and exposed to the outside. As tens of thousands
jason h.w. lee
�2
Jason H.W. Lee� out of 111�2
pencil on mulberry paper1�”x190”
200�
strokes pour out from my brain, I am broken, changed, and recreated. I guide my hand in
sacred movement and revel in the moment of completeness.
��
Growing up, I had never been a talkative child. As an artist things in my mind that could
not be put into words come to life through the tips of my fingers—social issues, culture
shock, beautism, modernization, and just simply finding out who I am … a lot of times
yeri lee
��
Yeri LeeEmpty It or Not
photographs �.�”x11”
200�
when my voice cannot speak out on these interests, I turn to making art. To me, the pro-
cess of creating an art work is a form of expression as well as a rupture from the silence
within my shy, inner self.
��
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joe linThis work is based on a sarcastic article which dealt with the decline of China’s living
and moral standards in comparison to a certain period of past. The work is a reflection
and portrait of the past six decades of modern China and certain criticisms vis-à-vis the
current situation. The articulation involves the representation of distinct time periods
in China’s past decades, discussion of the evolution of modern society and the growth
of inflation, materialism and commodified culture in a globalized China. In this environ-
ment, people think about making fast money and gaining instant short-cut success. In
this context, Mao, Deng, and Jiang respectively create(d), lead (led), and represent(ed)
the distinct social characters for each of their time.
��
Joe LinLong Long Ago (It Was All Beautiful), 1 of �oil on canvas�0”x�0”2009
jaylene macdonald
��
Over the past few years, the female body has emerged as the central theme in my
photographs, functioning as a landscape for my reflections on beauty and identity.
My work involves an objective investigation of the female form, as well as a personal
investigation given that I often act as photographer and model, subject and object.
Unlike most of the images we are faced with on a daily basis, where the body is treated
like a commodity to be used and consumed, my art portrays the body as a symbol of
beauty, as a vehicle for self-expression and as a communicative model to present and
reflect upon my own experiences. Superimposing layers of meaning and reflection (as
well as images themselves), I attempt to confound the transparent recording of the real
in order to create psychological portraits of the identity of the body.
�9
Jaylene MacDonaldUntitledinkjet print20”x�0”2009
michael macri
The grid is reductionist. A field of coloured squares, assembled in a particular order, takes
the stroke out of my hands, abates any deftness of their touch. What remains is a con-
struct of pure information.
�0
Michael MacriLend Me Your Ear (opposite)
cross-stitch�”x�.�”
2009
Michael MacriTo Err is Human–But it Feels Divine
(detail)acrylic on canvas
�0”x��”2009
�1
jodie mak
Things I think about(Like everybody else), re-presenting spaces
of interaction of opposing elements:
a) conceptual
b) social/structural
c) physical
d) personal
e) all of the above
Exploration and communication of tension
between these things:
a) the cathartic act of creation
b) the language that articulates the prom-
ise of resolution
c) the reality of stagnation
Also, between these:
a) the aesthetic
b) the awkward
Other things:
a) acceptability depending on one’s per-
ceived identity
b) knowledge and taste-making
c) catalogues and artist statements
Jodie MakA Threat
digital print with text embossment1�”x�”
200�
�2
jodie makJodie MakYou’ll get therefilm slides in cardboard boxes x �2”x2”x2”200�
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Giuliana MartinezVirgin
gilded wood & latex��”x19”
200�
Giuliana MartinezFelt Breast Sculpture (opposite)
digital photo print1�”x9.�”
2009
I am interested in questioning,
challenging and discovering mean-
ing within the forces that surround
me, ranging from religious institu-
tions to feminism. The work is highly
personal, yet appreciated by a larger
audience who share the same con-
cerns. To me, art making is a vehicle
to continuously rework and under-
stand my identity by constructing
and deconstructing my beliefs,
doubts, passions and frustrations as
a Latin American Woman Artist. In
producing work, I express myself to
the point where my work becomes a
unique disclosure of my own being.
giuliana martinez
��
��
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Tyler McDonaldUntitled (opposite)mixed media on paper��”x��”200�
Tyler McDonaldUntitledmixed media on paper��”x��”200� tyler mcdonald
“Don’t cry because it’s over. Smile because it happened.” – Dr. Seuss
��
lauren mckennaLauren McKenna
UntitledDigital Photograph
2�”x��”200�
��
Lauren McKennaThe Rape of Persephone (detail)copper etching, ink on paper1�”x2�”200�
We are no longer using our eyes to navigate the world. The screens of perspective perme-
ate all aspects of our lives–not only our own loaded gazes, but also those which ex-
ist outside of us, both the subjective and the mechanical, which we then carry within.
These screens can be found between the subject and the object, the masculine and the
feminine, the virtual and the physical, the colonizer and the native, and the native and
the immigrant.
In my exploration of the themes of feminism, surveillance, politics, virtual reality and the
act of image making, I seek to allow punctures and fissures to emerge through which we
might glimpse not only the screens themselves, but also the power structures to which
they blind us.
�9
Robin McNultyBarbara, Teddy, Amy, Naeem and Selena
sand on canvas90”x2�”
200�robin mcnulty
�0
Robin McNulty & Jessica DelisleHama Timehama beads & fishing linedimensions variable200�
My work aims to address memory as it relates to anxiety. The works are based on both
personal and found photographs and attempt to create a new archive and a reconstruc-
tion of memories. Whether the medium be paint, photo, video, print or installation, the
mode of production is always highly repetitive and mechanical. This process-oriented
way of working speaks to the meditative and transformative power of labour.
�1
vitor munhoz
I am fascinated by Vancouver’s proficiency at spectacularizing the natural and man-made
environments, especially as viewed alongside its many confrontations. My work directs
the viewers’ attention towards neglected spaces and objects. Despite the subtlety of
their depiction, these works struggle to regain an acknowledgement of these areas and
items within the ruthless, competitive environment that lies between the new and the
forgotten, the functional and the useless, the beautiful and the mundane. Be it through
display in public spaces such as billboards and posters, or within a gallery setting, the
works raise questions of apparent spatial, political and cultural relationships, and of the
purpose of their own superfluous existence.
Vitor MunhozLandscape Billboard
inkjet on artist proof paper mounted on plywood.�’x9’200�
�2
Vitor MunhozSnowpiletransparency in lightbox19”x19”2009
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sin hye park
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Sin Hye Park1, Untitled acrylic & ink on canvas��”x��”2009
Conflict fascinates me. Within it, I find harmony. This realization came to me, while
working on a series of paintings and prints of my room. The absurdity of this paradox can
lead to the creation of something quite extraordinary.
I have two rooms, one in Seoul, one in Vancouver. Both are meaningful to me as they
coexist to confirm my identity. Through bringing two different places into one pictorial
space I form “no where,” which is where I feel I belong.
Through combining multiple perspectives, I explore four different relationships in conflict,
“movement and stillness,” “interior and exterior,” “flatness and volume,” and “ritual and
improvisation.” Intricate juxtapositions, conflicting ideas, forms, colors and techniques
embrace incompatibility and complement.
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nick prunkle
Nick PrunkleUntitled (series)
inkjet prints�.�” x 12.�”
200���
Revealing aspects of contemporary social processes such as stratification, segregation
and gentrification is integral to my ongoing exploratory project and evident in many
of my works. By visually commenting on the changes made to an environment, either
brought on through the course of time or by social organizations, I continue to investi-
gate interactions that occur within capitalist culture by exploring how signifiers of these
interactions emerge and reveal themselves within the surrounding urban environment.
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rachelle reimer
��
While working with a nearly-automatic force to paint in suppression of organizational
ideals of composition, I am struck by the confrontation between understanding paint
as a material or as a means to an image. While attempting to focus on issues of paint
as matter and its reaction to a surface (in response to mark-making), there are uninten-
tional and pseudo-intentional energies involved in my painting process. Some of these
include simple issues of gravity and paint drying times, and others present themselves
in forms of formal approaches to paintings as images. I feel that this dualistic nature of
my artwork creates an unresolved tension, but may also be considered as a step toward a
further maturation in appreciating both the subjective and physical object of painting.
I also explore issues of camouflage, as the formation of paint will distract a viewer from
the material, but the material can corrupt the realization of the painting as an image.
This corruption helps the image to be interpreted as artificial, as it is composed of tactile
and physical substances. This further raises the question, “Why paint an image?” when
one realizes that the material cannot be demonstrated in realization of an object other
than itself.
Rachelle ReimerUntitled
acrylic , latex, cheesecloth, wood�2”x��”
2009
�9
rinske smith
�0
If I view art as an exploration, then it is the discovery of unplanned, uncontrolled marks
and textures that draws me in. There is a transition that bridges the gap from idea to
physical creation. In the process of producing work, I try to incorporate an element of the
unmediated in this transformation. The physicality of a work can never be overcome or
avoided, and it is this perceptible element that stands out for me in creating pieces. By
incorporating the tangible and the unintentional in my work, I hope to create a freedom
for the mind to explore these visual clues.
Rinske SmithSituated Choiceetching, ink and oil pastel on mixed paper1�”x2�”200�
�1
Felix SuenNothing (opposite)
digital photograph on epson high gloss paper22”x�0”
200�
felix suenThere’s magic in the creation of something from
nothing and in the interpretation of what has
been produced. The significance of a symbol is
not derived from its physical complexity, but
from the endless meanings created through its
interpretation. Solid materials can be used to
create something that has no physical form, like
spaces, smells, and sounds. Endless scenarios
can be created, which when presented, result in
some sort of interaction with a person’s senses.
Although both logic and the sensory experi-
ence can blind one from seeing the magic, with
the patience to feel, listen, and search through
these multiple ways of knowing, one is afforded
the opportunity to reflect anew upon oneself
and the world around.
Felix SuenHomunculus
sculptural installation2�”x1�”�9”
200�
�2
��
Chantal SullivanHabituatearchival digital print1�”x20”200�
chantal sullivan
Chantal SullivanHabituate
archival digital print1�”x�”
200�
��
As an artist and resident of North Vancouver, B.C., I find myself constantly and continu-
ously inspired by the natural environment surrounding me. For this work, “Habituate,” I
decided to question the boundaries of the conventional human habitat, or dwelling, by
overtaking natural vegetated environments with secular household items thus transform-
ing the area into a confined state of domesticity. The work itself attempts to transform
natural settings into spaces with specific functionality and purpose such as one would
find in a conventional home. The specific natural setting was left exactly as it was found,
a contrast with how we live as a developed society and impact on our environment.
��
max taffet
Through recent works I attempt to balance the precision of material application, concept
and significance, and the acceptance of messiness, in hopes of producing spontaneous
order. Even though some argue “painting is dead”, poked and jabbed into the worst and
most often repeated clichés, I appreciate paint’s quick reveal making it an honest and
democratic medium. For me, balancing execution, materiality, and excess of history,
make paint an interesting and challenging medium.
My three paintings fall under an assigned theme of ‘Every Time.’ In this case I interpreted
‘Every Time’ to mean a repetitive circular relationship organizing human existence. The
series focuses on things that occur in every individual’s life. Specifically, I focus on how
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Max TaffetRelative [ly]
acrylic on canvas��”x��” (2) & ��”x��”
2009
every person is at one point young, with their life stretched out before them. Situated
side by side, the three paintings are archetypes of childhood, but also exude an uncom-
fortable tension. Although there is nothing repetitive about any individuals’ life, there is a
sameness or an ‘Every Time’ to how the journey itself is always unknown.
Today North American society is changing. The period of prosperity that carried the baby-
boomers through to adulthood may be over. I wonder if the promise of North American
abundance is over? Will our current generation have the same quality of life as our par-
ents? Is the ‘every time’ prosperity of our parents and their parents going to last? Or, is
North America spent, no longer enough to go around.
��
My ideas come mostly from wander-
ing around cities. I am concerned
with the continuously changing
urban landscape and issues regarding
urbanization. I often integrate these
issues into three-dimensional works
that engage viewers in a variety of
ways. To create simple abstract
shapes that focus on organic form
and materiality, I formulate a bond
between architectural forms and
manufactured/natural materials,
and thereby transform and capture
specific moments in my life.
michael tingMichael Ting
UntitledMDF & metal
�’x2’x2’200�
Michael TingUntitled (opposite)plexiglass & metal
2’x1’x0.�’200���
�9
nancy toNancy To
Artwork 001acrylic on canvas
1�”x2�”200�
�0
My work stems from a fascination with our current age of mass consumerism, globalisa-
tion and rapid technological developments. In particular, I am interested in exploring how
such developments affect the public consciousness and their ways of approaching art.
As a consumer and an artist, I often question what constitutes the value of an artwork,
especially when considering the debates between commercial art and fine art.
Nancy ToSpaceacrylic on canvas11”x1�”200�
�1
�2
man tim tsuiArt is about everyday life, but everyday life is not only about art. From the more personal
moments to these larger social and global issues we shoulder collectively, they are all es-
sentials of life. These essentials inspire me to re-investigate the relationship between the
social and the individual.
Relating directly to my recent project about genetically modified food (GMF), I adopted
a humorous tone because I feel that art, just like everyday life, should be fun and ac-
cessible, and celebrate our boundless imagination and creativity. However, my primary
interest in this piece lies not in judgment of the development of GMF, but rather in the
disclosure of the current trends and attitudes towards GMF so that we, as consumers,
can re-evaluate our stance on it.
Man Tim TsuiUntitledpencil, ink, acrylic on paper2�”x�0”200� ��
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anita vukoja
Making art does not always entail a step-by-step approach, and cannot every time be
approached in the same way. For me, the creation of art is an organic process that stems
from a flow of sequential thoughts, or sometimes even from just one seemingly random—
yet intriguing—idea. As I work through making a piece of art, my mind is constantly re-
flecting on and analyzing the piece I am creating. Sometimes, new ideas or insights come
to mind as I am partway through a piece, causing me to alter my direction or go back
a few steps and change an aspect that had initially seemed resolved. The experience of
making art is a fluid one that involves one work affecting another, one process of creation
influencing another process and, ultimately, every piece being a reflection of my musings
about, and understandings of, the world around me.
Each smudge or smear, preliminary sketch and brush of paint form an electric pulse line
enabling me to produce a work of art exploring my interpretation of the world, to the
world and to myself, the artwork’s creator and most critical critic.
Anita VukojaRootsacrylic on canvas�0”x�0”200� ��
aletheia wittmanAs a student at UBC who’s main
focus has been art history, as op-
posed to the visual arts, I find that
my work and thinking tends to drift
toward what art is and what it can
say about itself. This kind of think-
ing is hardly new in the visual arts,
but I have tried to address issues
under this category that I feel have
particular relevance to me. One of
these issues is how high art, low art
and everyday visual culture overlap
and the assumptions made about
each. This leads to another issue,
which is the way art and life overlap.
I see this in a more specific sense as
imagination and its interaction with
Aletheia WittmanThe Lives of Walls
acrylic on wallpaper��”x��”
2009
��
reality. I want to explore how imagi-
nation informs, alters and manipu-
lates reality. The creative projects
of human imagination have been
justified by many reasons through-
out time. I see the desire to alter,
augment and ornament the natural
world, ourselves, and the things we
consume, to be what gives things
value and enriches our day to day
experience–though maybe not in
the same way for everyone. Real-
ity is both what is imagined and
material. By looking at how value is
created and how we are conditioned
to respond in the different envi-
ronments of aesthetics and art is
something I hope to explore beyond
graduation.
Aletheia WittmanFrom The Roughacrylic on canvas�0”x�0”2009
��
jaime yee
��
Language-learning has always been a topic which I have found to be compelling. While
I have explored a range of different subject areas in my artwork, much of my work has
centred on concepts of translation and misinterpretation of language in relation to my
experience as a Canadian-born Chinese learning Cantonese – my ethnic language.
My recent work has directly addressed the verbal and written components of learning the
Cantonese language through references made to a variety of traditional and widely-dis-
tributed learning tools such as dictionaries and flash cards. Personally-formed translit-
erations of Cantonese words into English are also a very common element in my artwork,
as I use them to speak to issues of self-taught learning versus institutionalized learning,
translation and the introduction of a language to broad audiences. Because the mean-
ings of transliterated words and phrases are not always consistent between the translit-
erated languages, conflicts in translation become apparent and it is these inconsistencies
in meaning which I find intriguing.
Jaime YeeLessons in Cantonesedigital print on cardstock, document frames, audio��”x��.�”200�-2009 �9
jeen yee
90
Over the past several years my work has predominantly centred on the media’s influ-
ence over self-image and worth. Most recently this has manifested itself in studies on
the masking power of make-up and its tendency to create false identities. These works,
which have been expressed through an emphasis on black and white, traditional photog-
raphy (like the work featured in this catalogue), are studies of this falsification, particu-
larly in regards to female self-image.
My most recent work, however, marks a thematic shift of focus from beauty and self-im-
age towards discussions of temporality. This is tied to a movement away from photogra-
phy and towards installation. I am interested in its ability to engage the viewer, inviting
audiences to participate and imbue the work with a sense of ownership. The piece here,
a combination of video, human computing and installation, discusses moments of time
which we, as individuals of the 21st century, often leave forgotten in an increasingly
chaotic world.
Jeen YeeFacesphotograph21’x2�”200� 91
92
eric yuenEvery day, we are constantly changing and redefining ourselves as we interact with
others. Our attitudes, behaviours and values differ as we become increasingly aware of
our surroundings. Thus, my question is this: are we aware of these changes? Are we the
ones who control these changes or are we being controlled? Are we constructing our
own identities or are we adapting to others’? In today’s society, many constantly change
themselves in order to project their ideal self in the eyes of others. One can easily fall
victim to fear, insecurity or even self-doubt. Through my practice, I am fascinated with
the connection between society’s influences and the individual’s behaviour. My work is
centered on the continuous struggle between one’s self and the environment. My current
work explores the relationship between the hands, the mind and the way simple gestures
can deliver powerful messages.
Eric YuenHigh Teaprint, photograph�”x12”2009 9�
creditsBarrie Jones Faculty Exhibition Coordinator
Gu Xiong Faculty Exhibition Coordinator
Robin McNulty Student Exhibition Coordinator
Lauren McKenna Fundraiser Coordinator
Kathryn Blair Catalogue Coordinator
Yeri Lee Web Coordinator
Nancy To Graphic Designer
Jaime Yee Graphic Designer
9�
Katelynn Bailey Poster & Invite Printing
Vitor Munhoz Photographer
Jeff Chang Photographer
Deana Holmes Editor
Marina Roy Faculty Editor
Richard Prince Faculty Editor
Barbara Zeigler Faculty Editor
9�
w w w . a h v a . u b c . c aISBN: 9��-0-�����-�2�-�