Category Archives: FCCS Artwork

Invisible Forces: Tiffany Shaw and Krystle Silverfox

JUNE 7 TO AUGUST 24, 2023, FINA GALLERY

Invisible Forces guide us through our lives, through ethereal worlds, symbolism, dimensions and the passages of time. The unseen is often more powerful than the seen, the unknown holds more power than the known when we activate our senses. These Invisible forces can help us navigate this earthly, corporeal existence of strained relationships between bodies and lands.

In Krystle Silverfox’s anthropomorphic No word for goodbye (2023) the land bleeds – bright red blood, from the branch of a tree, reflecting on the pain caused by a colonially extractive economy in Canada. The invisible wound of the exploitation of natural resources is manifested in the blood red fringe. Silverfox’s Landmark (2022) demonstrates the connection to how one navigates the land, and how we navigate our bodies. Body and culture merge in her monochrome photography, portrait and cartography. As the Silverfox explains, peoples of the North West Coast wore their art on the clothing, to always carry it with them. In a minimalist nod the artist recreates the ovoid forms of the art of the North West Coast using her body and photography.

Tiffany Shaw’s large scale installation, my children, my mother, her mother and their mother, and their mother, and their mother, and their mother….. nitawasimisak, nikawiy, okawiya ekwa okawiwawa, okawiyiwa, ekwa okawiyiwa ekwa okawiyiwa…..  (2021 – current) merges futuristic, architectural structures rooted on the unshakable foundation of the Indigenous matriarchy. When Shaw’s mother passed away she found comfort in knitting, the tactile, repetitive action brought her peace and a connection to those who came before. The mylar material in her installation is also knitted, acknowledging the ongoing grieving process changing over time but always present.

Bodies and the land, mothers and ancestors. Invisible forces are at work, in memory, labour and invocations of the land, these unknown and unseen elements can inspire and scare, destroy and protect.

This exhibition is part of the Indigenous Art Intensive, organized by the UBC Okanagan Gallery, curated by Dr. Stacey Koosel and supported by the BC Arts Council.

YOU ARE ON SYILX TERRITORY

You are on Syilx Territory  features recent acquisitions from UBC Okanagan’s Public Art Collection by Sheldon Louis, Coralee Miller, David Wilson and Manuel Axel Strain.

JUNE 7 TO AUGUST 24, 2023, CCS

Land acknowledgements were just one of the 94 calls to action of the Truth and Reconciliation Commission’s report published in 2015. UBC Okanagan’s Public Art Collection was founded in 1963 by Okanagan College, and contains over 800 works of art from outdoor public art to paintings, prints, etchings, sculptures, installations, photography, video, carvings and more. Unfortunately of the over 800 works in the collection, only 8 are by Syilx artists, less than 1% of the Public Art Collection.

David Wilson Sookinakin, Northern Lights, 2021, acrylic on canvas

Coralee Miller, Coyote Returns to Life, 2021, acrylic on canvas

The 6 paintings displayed, 3 of which are recent acquisitions funded by the BC Arts Council and Okanagan School of Education, are joined by two outdoor installations by Interior Salish artists on campus, Syilx artist Les Louis’s sn̓ilíʔtn (Story Poles) commissioned for the the Duke and Duchess of Cambridge’s visit in 2016 and For Future Matriarchs (2022) by Krista Belle Stewart (Syilx) and Tania Willard (Secpwépemc) commissioned by UBC Okanagan School of Engineering for the 14 Not Forgotten Ceremony to commemorate the École Polytechnique massacre.

Leading arts institutions around the world are prioritizing decolonizing their art collections, and embracing more inclusive art histories. UBC Okanagan’s acquisition policy was updated in 2020, to prioritize commissions and purchases from local Indigenous artists, to balance out the deficit of Syilx contemporary art in the collection.

Manuel Axel Strain, puti kʷu alaʔ (excerpt 2017-2018)m 2022, oil on canvas

Indigenizing the Public Art Collection relies on donations, and we would greatly appreciate your support, so we can build a collection that recognizes and celebrates the cultural achievements of the Interior Salish Indigenous peoples: Syilx, Nlaka’pamux, Secwépemc, Sinixt and extending to the Plateau; Stl’atl’imc, Ktunaxa, and Tsilhqot’in and Lil’wat among others.

Please donate today to help Indigenize UBC Okanagan’s Art Collection.

This exhibition is presented as part of the Indigenous Art Intensive, organized by the UBC Okanagan Gallery, and curated by Dr. Stacey Koosel.

I Died As A Mineral – Heraa Khan

UBCO MFA Exhibition held at the Lake Country Art Gallery.

Through my artistic practice, I delve into the natural world and our connection to it. The unbridled desire of humans to succeed and advance has disrupted the essential tenet of coexistence between the realms of humanity and the natural world, causing an imbalance that has led to ecological catastrophes and environmental calamities.

 

Using Indo-Persian miniature painting methods that originated in the 16th century as a starting point, my artistic practice involves re-envisioning these techniques with modern imagery and cross-cultural concerns to subvert conventional expectations. My work repurposes accounts of calamities and past events into significant and relatable visuals, blending the cultures of both the East and the West. I explore ideas expressed by Jalaluddin Rumi and Jeanette Armstrong in their poetry that advocate the importance of balance and equality of all living forms as a way to move forward towards a more harmonious and sustainable future.

 

By combining Eastern traditional painting techniques of using handmade materials such as wasli (paper), qalam (brush), and paints made from North American indigenous knowledge of natural pigments (Beam paints), with contemporary environmental concerns, the artwork conveys a multifaceted and intricate significance. The change in size from the expansive multi-screen digital animation to the smaller-scale paintings deepens our comprehension of the precarious interdependence between humans and the environment we inhabit.

Heraa Khan

Curator Essay

 

It has been approximately a year since I first met Nasim Pirhadi and Heraa Kahn, two talented artists immersed in the early stages of their MFA Program. Over time, I witnessed their artistic processes unfold, filled with inquiries, contemplations, and extensive research, gradually shaping their works into remarkable presentations.

For this year’s UBCO MFA Exhibition, the Lake Country Art Gallery has been divided into two distinct exhibition spaces. The first space showcases Heraa Kahn’s collection of miniature paintings, delicately arranged on the gallery walls, gently illuminated to highlight each individual piece. Through these paintings, Kahn invites viewers into a contemplative journey exploring themes of the natural world, human interactions, and the ensuing climate crisis. The exhibition, titled ‘I Died as a Mineral,’ draws inspiration from Rumi’s poem of the same name, perhaps symbolizing the cycle of life and incorporating materials that mirror this connection. Kahn’s intricate paintings serve as cautionary tales, offering viewers profound insights, meanings, and interpretations of Rumi’s poem.

While standing amidst Kahn’s exhibition, one’s attention is drawn to a small archway that leads to another space at the rear of the gallery. Passing through, visitors enter Nasim Pirhadi’s installation titled ‘Zoorkhaneh,’ which translates to ‘House of Strength’—a traditional gymnasium for men. Pirhadi has ingeniously transformed the room into an immersive installation, combining video, photography, sounds, scents, and exercise-related objects. The air is filled with the sweet fragrance of sugar and rose water. Traditionally reserved for men, the wooden equipment within the space is now open to all, as Pirhadi invites diverse participation in this exhibition. Notably, Pirhadi has recreated the apparatuses using sugar, imbuing the piece with a sense of heightened weight and transparency—an innovative reinterpretation of traditional beliefs and values concerning women’s rights, human rights, and societal roles.

For five days, I observed Heraa Kahn and Nasim Pirhadi meticulously navigate the gallery space, constructing walls, selecting paint colours, contemplating support structures, lighting arrangements, soundscapes, and strategic placement of their works. Every decision was made with utmost care, thoughtfulness, and thorough consideration, leaving no aspect to chance. Their unwavering commitment and hard work was admirable.

In these tumultuous times we find ourselves in, these exhibitions hold tremendous significance, encouraging us to stay informed about global affairs. The gallery has produced two exhibition catalogues, one for each artist, to showcase their thesis works. The presence of Heraa Kahn and Nasim Pirhadi’s art within the Lake Country Art Gallery is a true privilege for us—the gallery, the Lake Country community, and all those who have the opportunity to engage with their remarkable work.

Wanda Lock

Curator, Lake Country Art Gallery

 

ZOORKHANEH زورخانه – Nasim Pirhadi

UBCO MFA Exhibition held at the Lake Country Art Gallery.

Zoorkhaneh

The work I’m doing is actively confronting and exploring the social instability and how it relates to the ways Iranian women fight for their rights. One response of this confrontation is through my recreation of a zoorkhaneh within the gallery space. A zoorkhaneh is a traditional gym that only men are allowed to enter and participate in, and whose name translates to House of Strength. There is an old belief that women are not purified enough to enter these sacred places, and that the inherent corruption of womanhood makes them undeserving of titles like ‘hero’ or ‘champion’. By recreating a zoorkhaneh in a gallery space, I control and arrange, populated with the reimagined tools that define a new sort of zoorkhaneh.

In creating a zoorkhaneh in the gallery space, I challenged the exclusionary practices in zoorkhanehs by creating alternative space where people regardless of their gender can gather and engage in activities that are traditionally associated with these places. This project involves installation, video and photo performances that invite people who enter this environment to explore the cultural significance of these space, work out with the wooden tools and challenge patriarchal norms and values. By the space of zoorkhaneh, I want to challenge dominant narratives and create a more diverse and inclusive cultural landscape.

The entrance to the Zurkhaneh building is very low that passers-by have to bend over. This is a sign of humility and respect. This act serves as a powerful symbol of the values and beliefs embodied by the zoorkhaneh. In this show I created a short entrance that requires the audience to bend over and enter the zoorkhaneh space. The short entrance serves as a symbol of the egalitarian attitude applied to a specific category of citizens (men). By requiring all individuals, regardless of their status or position in society, to bow down in order to enter the space, the zoorkhaneh reinforces the idea that everyone is equal and should be treated with respect and dignity. In this show the entrance to the space serves as a threshold between the external world and the internal space. It is a point of transition, where individuals leave behind the chaos and distractions of the outside world and enter a space of intentionality and focus.

I utilized sugar to recreate the tools which are originally wooden. I sought to challenge the traditional masculinity in zoorkhaneh often associated with wooden tools by using sugar as a medium. This choice redefines what it means to be strong and powerful by subverting the idea that power can only be represented in a certain way (here certain material). I aimed to question and reflected on societal constructs of gender roles and expectations in a patriarchal system. As the sugar sculptures are much heavier than their wooden counterpart, they represent what it means to be powerful without succumbing to constricting societal standards.

Nasim Pirhadi

Meel: One of the tools used in zoorkhaneh is the Meel which at some point is the symbol of zoorkhaneh. The Meel is big chunk of hard wooden conical-shaped tool. It features a handle at one end.

Meel Greiftan (club exercise)

Working with the Meels is perhaps the most difficult part of the whole session. In fact, these devices are comparatively heavy and difficult to control, especially in motion during the Meel exercises. In addition, this exercise bout is slightly longer than the rest of the session. The procedure for starting this exercise is exactly identical to one of the push-up exercises; You can pick up the Meels and regain their places in the same order. In this exercise, you turn the Meels around your shoulders alternately and in a balance, continuous and circular fashion.

 

Sang

Is a rectangular piece of hard wood that has some similarities with the ancient shields used to ward off blows or missiles. The side of the rectangular that is moved near the floor throughout the exercise is gently arched. There is a hole at the central part of each Sang with a bar across it that is used as a hand grip. Around this opening is covered by a soft material to protect the hand. Sangs are used for weight training and one pair of them is necessary for the exercise.

Sang Greiftan (weight exercise): To do this exercise you can lie on your back on the floor with your legs straight (or crossed)

Push-up Board

“Takhteh-Shena: Is a plank of about 75 x 8 x 2 cm. It stands on two short lateral pedestals, each about 5cm. high and shoulder-width apart. The Takhteh-Shena is used for the different types of push up exercises particular to Varzesh-e-Bastani.

 

Curator Essay

 

It has been approximately a year since I first met Nasim Pirhadi and Heraa Kahn, two talented artists immersed in the early stages of their MFA Program. Over time, I witnessed their artistic processes unfold, filled with inquiries, contemplations, and extensive research, gradually shaping their works into remarkable presentations.

For this year’s UBCO MFA Exhibition, the Lake Country Art Gallery has been divided into two distinct exhibition spaces. The first space showcases Heraa Kahn’s collection of miniature paintings, delicately arranged on the gallery walls, gently illuminated to highlight each individual piece. Through these paintings, Kahn invites viewers into a contemplative journey exploring themes of the natural world, human interactions, and the ensuing climate crisis. The exhibition, titled ‘I Died as a Mineral,’ draws inspiration from Rumi’s poem of the same name, perhaps symbolizing the cycle of life and incorporating materials that mirror this connection. Kahn’s intricate paintings serve as cautionary tales, offering viewers profound insights, meanings, and interpretations of Rumi’s poem.

While standing amidst Kahn’s exhibition, one’s attention is drawn to a small archway that leads to another space at the rear of the gallery. Passing through, visitors enter Nasim Pirhadi’s installation titled ‘Zoorkhaneh,’ which translates to ‘House of Strength’—a traditional gymnasium for men. Pirhadi has ingeniously transformed the room into an immersive installation, combining video, photography, sounds, scents, and exercise-related objects. The air is filled with the sweet fragrance of sugar and rose water. Traditionally reserved for men, the wooden equipment within the space is now open to all, as Pirhadi invites diverse participation in this exhibition. Notably, Pirhadi has recreated the apparatuses using sugar, imbuing the piece with a sense of heightened weight and transparency—an innovative reinterpretation of traditional beliefs and values concerning women’s rights, human rights, and societal roles.

For five days, I observed Heraa Kahn and Nasim Pirhadi meticulously navigate the gallery space, constructing walls, selecting paint colours, contemplating support structures, lighting arrangements, soundscapes, and strategic placement of their works. Every decision was made with utmost care, thoughtfulness, and thorough consideration, leaving no aspect to chance. Their unwavering commitment and hard work was admirable.

In these tumultuous times we find ourselves in, these exhibitions hold tremendous significance, encouraging us to stay informed about global affairs. The gallery has produced two exhibition catalogues, one for each artist, to showcase their thesis works. The presence of Heraa Kahn and Nasim Pirhadi’s art within the Lake Country Art Gallery is a true privilege for us—the gallery, the Lake Country community, and all those who have the opportunity to engage with their remarkable work.

 

 

Wanda Lock

Curator, Lake Country Art Gallery

 

Misanthropocene: The New Epoch

 Misanthropocene: The New Epoch
These works by students of VISA 382: Advanced Practices in Media Arts are inspired by the term used by poets Joshua Clover and Juliana Spahr in their poem #MISANTHROPOCENE: 24 THESES. Exploring the negative and the positive, our students have created work that observes the effect humans have on the planet and also on one another.

Jenna Cooper

Cloud Angel

Hannah Palomera

Arthur Pielecki

Hei Yu Wong

Wayne Xie

Kailee Fawcett

Bethany Hiebert

Matthew Kenney

Amanda McIvor

Sarah McNeil

Jade Molen

Jessica Williams

Marcus Hobkirk

Heads Up! : Advanced Practice in Sculpture

Heads Up!

 

VISA 322T: Advanced Practice in Sculpture

Instructor: Crystal Przybille

 

Thom Ayling

Carmen Bouvier

Clara Cho

Makeena Hartmann

Bella Jiang

Yaya John

Garvin LeBlanc

Amy Marui

Ziv Wei

Wayne Xie

 

Heads Up! is an exhibit of plaster casts of sculptures first created in clay. The casts are the result of an intensive, skill-building process involving the creation of an armature, clay sculpture, silicone mold, rigid shell mold, and finally, a plaster cast. Beginning with the concept of a sculpture “about a head, or about the size of a head”, the students conceptualized and created their work, combining classical approaches to sculpture with contemporary ones.

 

 

Assemblage II: MFA Group Show

Assemblage II is the second iteration held by the Visa 582/582 MFA graduate student class with instructor Tania Willard. Assemblage II takes on development from the studio of diverging artistic practices but aligns resultant artworks in the gallery in ways that position new dialogues between practices, concepts and materials.

From sculptural works that are conceptually driven by the state of women in Iran to; graffiti sentiments, the beauty of photographic archives of daily life, augmented reality, mixed media works informed by Persian miniature painting and figurative painting that focuses on our complex mental states, the exhibition positions differently informed works into conversation with one another and an assemblage of our human experience emerges. Assemblage highlights the engaging and dynamic work of graduate students in the MFA program showing a range of practices and emerging dialogues.

UNPRECEDENTED – Bachelor of Media Studies VR Exhibition

Unprecedented is a showcase of third year Bachelor of Media Studies (BMS) student works that explore the realms of virtual reality, dreamscape, and interactive experiments.

This exhibition presents a unique opportunity to delve into the minds of these emerging artists and designers, who have brought their visions to life through innovative mediums. The world of virtual reality has captivated audiences with its ability to transport us to new and exciting places. In this exhibition, our students have pushed the boundaries of this technology to create immersive experiences that blur the lines between reality and imagination.

Through the use of 3D modeling and coding, they have created virtual worlds that are both visually stunning and interactive, allowing the viewer to explore and engage with the environment. Dreams have long been a source of inspiration for artists, and our students have tapped into this rich tradition to create works that explore the surreal and otherworldly. These pieces offer a glimpse into the subconscious mind, where reality is distorted and the impossible becomes possible. These works engage the senses and encourage exploration and play, creating a dynamic and engaging experience for all who visit.

We invite you to join us on this unprecedented journey through the worlds of virtual reality, dreamscape, and interactive experiments. We hope that this exhibition will inspire you to explore new frontiers in the world of art and design, and to embrace the limitless possibilities of the digital age.

 

PRINTMAKING

Printmaking at UBC Okanagan is extremely varied.  In our modest print studio, students work with five different media areas – stone lithography, zinc-plate etching, ultra-violet screen printing, relief printing, and letterpress.  Not only do students become adept at whatever print media they are studying but they learn how to work cooperatively in what can sometimes be a bustling and chaotic environment.  Everyone is constantly being influenced by everyone else in our close-knit print community.

The exhibition PRINTMAKING (February 20 – March 9, 2023 in UBCO’s FINA Gallery) was comprised of prints selected from each of the five major print media practiced in the BFA program.  Most of the works were made throughout the last year.

 

Cultivations: Advanced Painting, Term One

Cultivations is an exhibition of paintings created by students in VISA 312S: Advanced Practice in Painting. Students in this class determined their own subject matter and explored different approaches to scale, space, value and materiality as a method of refining their body of work throughout the semester.

Cultivations includes work by Katya Meehalchan, Sara Richardson, Tin Laam Au (Eunis), Taylor Carpenter, Melissa Clark, Makeena Hartmann, Josie Hillman, Chloe Jenkins, Carly Johnson, Amy Marui, Karina Nardi, Julia Pearson, Christine Wakal and Abigail Wiens.