RE: HOW DO YOU SURRENDER TO A DRONE by Craig Rodmore
Photographs and sculptures with a photographic charactereverything is made, and yet everything has an air of reproduction or reconstruction.
Some Things That May Or May Not Relate by Alex Bowron
We exploded the countdown device and now we can no longer count down to the explosion.
The Transitive Nightfall of Diamonds: On the Recent Drawings of Lisa Neighbour by Jennifer McMackon
Each drawing in the series portrays in isolation the skeletal remains of a large demolished vehicle (or two) sagging in the aftermath of a long dissipated thud. An impression of the passage of time is embedded formally in each work as destroyed vehicular prototypes are culled from newspapers and other sources of media.
Lee Henderson: The Known Effects of Lightning on the Body by Jennifer Matotek
The video’s action is repetitive: one match lights another match, over and over again. The longer we watch the video, we begin to recognize that apart from the occasional unique response of the matchstick to the flameit is the movement of the hand that sometimes appears to light each match that assures us each segment is unique.
The Language of Abstraction: Andrew Rucklidge’s You and I are Shifters by Terence Dick
Once upon a time, in an era of drips, zips, and chapels, abstraction was the route to truth in painting.
Close Encounters by Deborah Kirk
Throughout time, we have struggled to gain insight into the human condition; to find meaning and purpose in our existence; to make sense of our relations to one another and to the world we inhabit. However tentative, these positions have revealed structures of knowing and becoming, casting light on the creative process itself and in turn on its formal, functional and dynamic possibilities. These preoccupations lie at the very heart of Michael A. Robinson’s work, presented here in The Origin of Ideas.