Three solo exhibitions by Ken Anderson (Yukon), Yam Lau (Toronto) and James Nizam (Vancouver), which focus on light, form and movement.
Monday to Friday: 10 am to 5 pm
Saturday: 12 pm to 5 pm
Open for theatre performances.
ADMISSION BY DONATION
In this exhibition of recent work, Ken Anderson explores unusual materials such as plexiglass within the Tlingit style. His work is contemporary while adhering to the high standard and rules of the old masters. He believes that the Northwest Coast art form is both purely creative and limitless from an artist’s point of view. Anderson also considers the art form is representational of something larger than the artist, namely a living culture.
This exhibition by Yam Lau brings together recent works that combine digital video and 3D animation. Using three-dimensional modelling software, Lau constructs domestic spaces that overturn convential representations of space and time. Slowly rotating virtual environments display filmed sequences of the artist in his everyday private life. We are left with moving worlds where our gaze cannot find any fixed landmark to focus on, but where, paradoxically, everyday, ordinary acts and familiar objects take on a new dimension. Time seems to have become frozen in an endless present, balanced on the edge of the void.
Yam Lau was born in Hong Kong. He now resides in Toronto, where he is represented by the Leo Kamen Gallery. His work has been exhibited on numerous occasions in Canada, the United States and Europe and has been the subject of many publications. He currently teaches in the Department of Visual Arts at York University.
At the heart of James Nizam’s work lies his understanding of the photograph as a “trace”; a documentary image that comes to act as a ruin or a relic, a fragment or a memory by virtue of its engagement with an altered (and absent) site. Percept will feature new works along with the Vancouver-based artist’s most recent series of work entitled Trace Heavens. In this series, Nizam cut structural incisions into an abandoned house in order to manipulate the sun into light sculptures, which he then photographed. Intrinsic to all his works is the idea that the installation or the sculpture is destroyed in the act of demolition, save for the photographic record – making the documentation itself the artwork.