Exhibitions

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BADLIGHT is memory, blindness and gestures of care. It is what is felt and what is lost.
Rooted heavily in craft theory and ontology, BADLIGHT is the relationship mother and daughter in times of light and of darkness.

Natalie Lauchlan is a daughter. She is an emerging artist from Canada, where her mind still goes to wonder the forests and mountains, no matter where her body is. She collects fragments of text that come to arrange themselves in her memory. She reads the tenderness of objects and transcribes the poetics of space.
Exploring the ephemeral, she is the ghost haunting all her memories.

 

 

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These works are a continuation of a series of chimeric explorations questioning the threshold between the ‘human’ and ‘natural.’ Through them, I seek stories of interconnectedness, of bodies whose boundaries are permeable and overlap; to memorialize, engage, and bring this permeability into presence.

Sheri Nault is a multi-disciplinary artist of Métis and mixed European descent. Situated within personal and political contexts, their art practice and research are grounded in queer, feminist, and Indigenous world-views. Through their work they strives to elicit a sense of social and ecological responsibility to one another on a damaged planet, exploring the connections between humans and nature. They completed their MFA at York University in 2017, were an Indigenous Practicum Participant in The Banff Centre’s Visual Arts department from 2014 to 2015, and received their BFA from the Alberta College of Art + Design in 2012. Recent exhibitions include Kin, the presentation of their thesis work; Entangled Bodies at the Art Gallery of York University (agYU); art( i f)ACTS curated by Belinda Ho-Yan Kwan in response to the agYU collection; and Where the Weather Happens at the Niagara Artists Centre, curated by Jessie Short and Amy Malbeuf. They are a member of the 2017 cohort of the Intergenerational LGBT Artist Residency based at Artscape Gibraltar Point (postponed to 2018 due to flooding).

 

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Via a convolution of print and perception The Traverse seeks to make apparent the division between the normative and queer understanding of the self. Providing the choice to move beyond a curtain, standing in for the edge of queer territory, the viewer is confronted by an inverted gaze. An artwork directly expressing its agency, the multitude of eyes and grimacing mouths that compose the interior of the installation enforce the viewer’s position as an outsider in this differentiated place. In the focused gaze beyond its surface the work desires a token of understanding from the viewer, offering a point of empathetic contact through a text offering. This desire, however, is no guarantee of a deciphering taking place.

My transitional intent is geared towards generating new meaning, ways of living, a bodily existence. These modes are supposedly beyond legibility to normative visions and so the forcing an action of traversal (physical, geographical, societal and cultural) becomes essential.

Outcomes in trans living are immune to any attempt at foresight and demand a unique journey and relationship with the subject of change. This relationship and the conclusions drawn from it lie beyond some form of barrier and The Traverse is meant to present that.

May G N is a Trans Albertan Artist that works with new media print technologies to produce work engaging with their personal navigations of territories that span the emotional, physical and societal. Through layering image, text and material, May G N provides scenarios where the decisions of the viewer are interrogated surrounding their relationship with queer identities.