Intervals: Photography in Flux
Presenting 7 global photographic artist new and recent works including 3 world premieres in the Capture Photography Festival.
Viewed collectively, their themes thread around the deconstruction of identity, environmental issues, the disposable social, speaking under oppression and the mysteries in the mundane. The works are presented through diverse photographic and printing methods such as encaustics, pigment ink on cotton rag, camera less exposures, and iPhonography.
Don’t miss a chance, at SoMa|South Main Gallery, to talk to the artists about their work on the Thursday opening night or during the artist talk on Saturday
March 31–April 9, 2016
Opening Reception: Thursday, March 31st, 2016, 7–9pm
Artist Talk: Saturday, April 2nd, 2016, 2–4pm
South Main Gallery
279 East 6th Avenue
Vancouver, BC V5T 1J7
Tuesday to Thursday · 10am-5:30pm | Friday and Saturday · 11am-5:30pm | Sunday · by appointment Private viewing available
Seven global photographers converge in an exhibition about the rhythms and tensions in the contemporary geographical, social and psychological landscapes. Opening at SoMa|South Main Gallery (279 East 6th Avenue) on 31 March (7–9pm), Intervals: Photography in Flux features a unique collection of works by visual artists who draw upon photographic practices and techniques used in the 19th, 20th and 21st centuries.
Intervals: Photography in Flux is an exhibition about the fluctuations in post documentary, contemporary photography. Photographers from Vancouver, Victoria, Los Angeles, Honolulu and Iran explore the rhythms and tension of their geographical, social and psychological landscapes. Andrew Ward and David Ellingsen both explore obsolesce, excess and the attachment to objects emerging from a rapidly fluctuating material world. Diana Nicholette Jeon turns the camera on herself, processing her emotions by deconstructing her image and reconstructing it into a dialogue about constructed identity. Goga Bayat and Jim Friesen explore inner psychological landscapes, resulting in poetic visual imagery with deep meaning. Edward Peck’s abstraction of the Icelandic landscape leads into Phyllis Schwartz’s analog/digital cameraless image making process, which result in abstract landscape forms expressing yearnings to live within a 21st century context.
Edward Peck 