-- Advertisement --

                           

-- Advertisement --

Canadian Art

See It

Graeme Patterson and Karilee Fuglem: The Rest is History

Rodman Hall, St. Catharines May 15 to Aug 22 2010
Graeme Patterson <i>Grudge Match</i> 2009  Detail  /  photo Danny Custodio Graeme Patterson Grudge Match 2009 Detail / photo Danny Custodio

Graeme Patterson <i>Grudge Match</i> 2009 Detail / photo Danny Custodio

This summer, Rodman Hall plays host to two artists who intertwine real and imagined histories and spaces. Saskatchewan-born, Halifax-based artist Graeme Patterson garnered acclaim in recent years with his sculptural construction and stop-motion animation Woodrow, a replica of the eponymous prairie hamlet where the artist once lived with his grandparents. (Extremely detailed, his rendering of the village included a church, a bowling alley and a hockey rink, among other elements.) For his new work on view at Rodman, the video and installation Grudge Match, Patterson once again returns to his youth. The filmic component imagines a wrestling match in a high-school gymnasium between the artist and a long-lost childhood friend, Yuki, who he was separated from at the age of 9. Using stop-motion techniques, Patterson reanimates his friend, filling a gap in the pair’s relationship and dealing with questions of friendship, identity, memory and nostalgia. The installation, riffing on similar themes, offers miniature replicas of a high-school gymnasium and weight room, all housed in a container with a bunk-bed motif. As in his other works, the installation acts in part as a film set, and Patterson’s personal experience finds lurid expression in miniatures writ large.

On view simultaneously is steady streams, living rooms, an installation by Montreal-based artist Karilee Fuglem, who is best known for ethereal, barely visible works constructed from such materials as nylon monofilament and clear plastic. Responding to the architecture of Rodman Hall and the surrounding space, Fuglem’s seemingly weightless weaves and other works allude to the natural world, like the nearby Twelve Mile Creek, as well as to the paths of some of the mansion’s historical visitors, like Laura Secord and Harriet Tubman. In this way, Fuglem gives form to the intangibilities of space and highlights the permeable imaginative boundaries of the gallery. (109 St. Paul Cr, St. Catharines ON)

This article was first published online on June 3, 2010.

RELATED STORIES

  • David Hoffos: Night Moves

    No one creates dioramas with more haunting presence than Lethbridge artist David Hoffos. For more than a decade, he has been crafting light boxes and installations that create hyperreal alternate spaces. This winter, a tour of his newest masterwork hits the National Gallery of Canada.

  • Sobey Finalists 2009: Graeme Patterson

    Graeme Patterson became popular nationwide with “Woodrow,” a 2007 touring exhibition of his animatronic sculptures and stop-motion films that were inspired by life in the small Saskatchewan town where his grandparents resided.

  • Graeme Patterson: Collecting the Collectors

    Artist Graeme Patterson has a thing for miniatures. Best known for his replicas of a small prairie town, the artist now sets his skills on more cosmopolitan sights: eccentric urbanites, observant artists and a delicate web of Canadian collectors.

 

FOUNDATION NEWS

More Foundation news

ONLINE

  • Will Munro: Ecstatic Legacies

    In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.

  • Painting Canada: Artistry in the UK

    The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.

  • David Altmejd: In the Belly of the Beast

    The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.

  • A Stake in the Ground: When Language Wounds

    What happens to identity when our relationship to land and language is disrupted? This is a key question raised in “A Stake in the Ground,” an exhibition of works by 25 First Nations artists, curated by Nadia Myre, that’s currently at Montreal gallery Art Mûr.

  • Canadianartschool.ca: Tips for a Successful Winter Term

    Our education and careers site has just posted more stories and tips to help students achieve a great winter term. Highlights include a profile of internationally renowned fashion designer Jeremy Laing, a Q&A on grad schools and more.

More Online

- Advertisements -



- Advertisements -
Report a problem