Finalists for the 2017 Mid-Career Artist Award

I'm totally honoured to be included in such illustrious company for this award: Maura and Jesse are stunningly great artists! 

The Ottawa Arts Council would like to thank RBC Royal Bank, RBC Foundation, Mann Lawyers LLP, GGFL Chartered Accountants, Ian Capstick and Shawn Dearn, and the City of Ottawa for their support of the Ottawa Arts Council Awards Program.

The awards recipients will be announced at the Arts Awards Presentation on Tuesday,May 9th in the Arts Court Theatre. The recipient in each category will be awarded $5,000 and the finalists will each receive $1,000.

MauraDoyle.jpg

Maura Doyle

Maura Doyle lives and works in Ottawa. Her multidisciplinary practice has included video, ceramics, sculpture, book works, printed matter and drawing. Her recent work focuses on the medium of clay, prehistoric pottery and processes, which includes the traditional techniques of hand building and pit firing. Her work has been exhibited across Canada in artist-run centres and art institutions, and internationally in New York, Japan, Sweden and Vienna. She received her MFA from the University of Guelph and is represented by Paul Petro Contemporary Art in Toronto (http://paulpetro.com)

 

 

Jesse Stewart

Jesse Stewart is an award-winning composer, percussionist, artist, instrument-builder, and educator. His music has been documented on over twenty recordings including Stretch Orchestra’s self-titled debut album, which was honoured with the 2012 “Instrumental Album of the Year” JUNO award. He has performed and recorded with musical luminaries from around the world, and has been widely commissioned as a composer and artist. He is a professor of music in Carleton University’s music program and an adjunct professor in the visual arts department at the University of Ottawa. In 2015, OttawaJazzScene.ca described him as “one of the most innovative musicians in Canada."


Andrew Wright

Andrew Wright's work is described as multi-tiered inquiries into the nature of perception, photographic structures and technologies, and the ways we relate to a mediated and primarily visual world. He has exhibited widely, both nationally and internationally, with exhibitions in London, UK, Vancouver, Toronto, Korea, Oakville Galleries, Madrid, to name of few. Wright is the recipient of numerous grants and awards. Nominated six times for the Sobey Art Award he was a semi-finalist in 2007. In 2016 he was nominated for the Premier’s Awards for Excellence in the Arts. In 2011 he won the inaugural Gattuso Prize at CONTACT Photography Festival in Toronto. He is Chair of Visual Arts at the University of Ottawa.

The Photograph: Suspended Tree

Off to Korea next week with Jon Sasaki and Jinny Yu.  I hope to achieve some version this (the shipping container is a camera obscura):

All the Kids are doin' it: 1st bit of eCommerce

Pretty Lofty And Heavy All At Once Book
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Andrew Wright @ The Herbert Art Museum, Coventry

Full video of my talk on March 3rd, 2016. 53 minutes.

Andrew Wright talks about his photographic practice 3 March 2016. Many thanks to the Coventry School of Art & Design at Coventry University and to Rachelle Viader Knowles

Travelling Light: Views of Ontario

It’s completely mysterious to me how photography works...It’s just a way to make small revelations about the world, I think.
— Geoffrey James
Meryl McMaster, Wingeds Calling from In Between Worlds, 2012

Meryl McMaster, Wingeds Calling from In Between Worlds, 2012

Online exhibition celebrating Ontario for Chinese and Canadian audiences featuring:

Lise Beaudry
Toni Hafkenscheid
April Hickox
Geoffrey James
Meryl McMaster
Rebecca Scriver
Jeff Thomas
Andrew Wright

Curated by Scott McLeod

Project Manager Craig D'Arville, Executive Producer Zhe Ghu, Ontario Arts Council

Andrew Wright: Data Trespass, London Gallery West, March 11 - April 10, 2016


Detail from Surge, 2016

Detail from Surge, 2016

Andrew Wright: Data Trespass
London Gallery West
The Forum
Westminster School of Media, Arts and Design
University of Westminster
Watford Road, Harrow, HA1 3TP   
T: +44 (0)20 7911 5970     
E: a.leeman@westminster.ac.uk
westminster.ac.uk/london-gallery-west

EXHIBITION PRIVATE VIEW
Thursday 10 March 2016, 5 – 8pm

GALLERY TALK
March 2016 (tbd), 1-2pm
Tour of the exhibition with artist Andrew Wright and David Bate, Professor of Photography at the University of Westminster in conversation.
Free, open to all.

EXHIBITION OPENING TIMES
Until 10 April, 9am – 5pm daily
Free admission, open to all.
Press images available on request

 
OAC_REVISED_NEWCOLOURS_1805c

London Gallery West is delighted to present works of acclaimed Canadian artist Andrew Wright. The artist’s international solo exhibition will feature a new London Gallery West commission – a large site-specific photographic installation that adorns the 24 windows of the glazed façade of the entrance to The Forum. This new work, titled Surge, was photographed in Wyoming’s Yellowstone National Park, the most geothermically active location on the planet. Consisting of never-before-seen images of tumultuous geysers shot at night with high-powered flash, this work presents unquantifiable detail while at the same time inviting a reconsideration of photography’s veracity. These images are a continuation and expansion of Wright’s Illuminated Landscapes series begun in 2001, and are reminiscent of his well-known Water’s Edge (2005), shot at the base of Niagara Falls. Using techniques drawn from the indoor photographic studio and applied to landscape, an overt artificiality characterizes large images that contain both complexities that are essentially impossible to depict or describe—even photographically—and areas of utter void and empty blackness.

Other works include Data Trespass: Illegal Photographs, a conceptual suite of panoramic images that antagonize a recent Wyoming statute that makes outdoor photography an illegal and indictable form of data collection. Accompanying this photographic series is a new video also titled Data Trespass whose  footage derives from a mock trial where Wright was prosecuted for his apparent contravention of the Wyoming ‘no photography’ law.

Dawson Looking Glass troubles conventions of landscape and street photography by picturing a photo-performance with a large mirror in the Yukon during ‘midnight sun’, the longest day of the year. Also featured are sculptural works such as Disused Twin Brownie Hawkeye Cameras, an example of Wright’s ongoing use twinning, mirroring and doubling as part of a complex play on perception. Beijing Odyssey is a contemplative video work shot from Beijing hotel room and offers a drastically occluded view of a massive LED advertising billboard that explores the zones of transfer and exchange between the marvels of the machine age and the visual culture of modernity.

Wright’s use of photography is decidedly non-conventional as it challenges lyricism and traditional pictorial aims and favours an exploratory, evocative approach that probes optical and representational technologies, their cultures, their histories, conventions and conceits. Wright’s photographic, sculptural, and video practice critiques the photographic activities of depiction and representation. His provocative use of photographic materials and photo-like procedures suggest alternate ways of both considering and interpreting image and object. For Wright, meaning is often derived from conditions or circumstances outside of or in direct opposition to information presented as depiction.

Andrew Wright’s artistic practice sits at the intersection of traditional and conceptual forms of artmaking. Recent exhibitions include: Penumbra, Scotiabank Contact Photography Festival, Toronto (2013); Selected Diptychs & Multiples, Thames Art Gallery, Canada (2014); Pretty Lofty and Heavy All At Once, Ottawa Art Gallery (2015); Untitled Photographic Pictures, Patrick Mikhail Gallery, Montréal (2015); Xi’an Art Museum, China and at Beijing's Today Art Museum alongside the works of Michael Snow, Ed Burtynsky and Iain Baxter&. Two of his photographic works were selected for permanent installation at the newly refurbished Canada House, Canada’s High Commission on Trafalgar Square in 2015.

Wright has also exhibited at Presentation House, Vancouver, the University of California, Berkeley, Oakville Galleries and Photo Miami. As an artist-in-residence, he has worked at the Banff Centre and at Braziers International Artists Workshop (UK). He was a 'war artist' with the Canadian Forces Artists Program, aboard Canadian warship HMCS Toronto. He won the inaugural Gattuso Prize at Scotiabank Contact Photography Festival in Toronto (2011). Andrew Wright is represented by Patrick Mikhail Gallery in Montréal and Ottawa. He is an Associate Professor of Visual Art and Chair of the Department of Visual Arts at the University of Ottawa.

 

Untitled Photographic Pictures: CIEL VARIABLE review by Adam Barbu

"…the photographic impulse itself is always already held in a tension between composition and incident…"

In recent years, Ottawa based artist Andrew Wright has produced numerous bodies of work that propose new readings on the ontology of the image. In particular, Wright's exhibition at Patrick Mikhail's new Montreal gallery space, titled Untitled Photographic Pictures, presents a series of large-scale photographic works and two mixed-media sculptural works that underscore the artist’s continued effort to use classical motifs and methods as a means to access broader questions concerning the medium of photography itself.

In this series of photographs, Wright opens up a rich interpretive space by taking the motif of the empty landscape and making it strange. Each photograph is a direct-from-camera snapshot taken through the window of a moving train.  As he passes by the landscape, Wright makes a deliberate jerking motion with the camera that causes the otherwise clear, focused image to be interrupted. This destabilizing movement leaves the viewer continually distanced from the "original" landscape. Within the confines of the gallery space, these visual disturbances, or “knots,” are immediately apparent to the viewer; yet, the images, captured in the moment between documentation and abstraction, are not clearly revealed. At first glance – without consulting the exhibition text, for example – one might assume that the artist has digitally edited these images to arrive at an ideal formal state. However, the critical viewer will not read these photographs simply as either completely "untouched" or "altered," but will consider the ways in which the photographic impulse itself is always already held in a tension between composition and incident. The queerness of Wright’s arrival of the image is related to his broader interest in shifting the conversation away from representation or iconographic content and toward process itself...

READ MORE HERE...

Dawson Looking Glass

Dawson Looking Glass, Performance, 2015

Dawson Looking Glass 1, 2015, documentation of performance (photographic print, 40 x 26 inches, edition of 5, 1 artist proof)

Dawson Looking Glass 1, 2015, documentation of performance (photographic print, 40 x 26 inches, edition of 5, 1 artist proof)

Click the image to see the full series of images.

Some days I wish I were a painter...

Silvered Pictures, 2015
Silver leaf on greeting cards purchased at the National Gallery with reproductions of paintings by Cornelius Kreighoff and William Kurelek. See more here

Pretty Lofty & Heavy All at Once in Canadian Art Magazine

Charming Prospect: part of my project for Dawson City's Camera Obscura Festival

"Prospect Helper -- Place on Window to Establish View "(Sticker for Inside).

"This Pospect Helper placed to direct attention to the View" (For placing on Windows from the Outside).

The Charming Prospect "Prospect Helper", and other Charming Prospect merchandise (T-shirts, hats, fine giftware) is available for purchase from now until the Autumnal Equinox, 1:21 am, September 23rd, 2015: http://www.cafepress.ca/CharmingProspect

Midnight Sun Camera Obscura Festival: http://midnightsuncameraobscura.com

Mould #2 (Photo) Writing Degree Zero, curated by Joan Foncuberta launched in Reggio Emilia

"One of the the aims of the suite of photographs titled Coronae, is to posit the possibility that pictorial content or depiction is not necessarily a precondition of photography.  Coronae's images are the result of 'collapsing' the camera, the lens, and light-sensitive emulsion into a single object: tiny holes were drilled directly into and through 35mm colour reversal (slide) film canisters and they were subsequently left to expose in bright sunlight for approximately 1 hour.  In a way, the method by which an 'image' appears becomes the very subject of that same image, and the photographs become self-reflexive manifestations.  That which is literally depicted is a hole, an absence that stands in for a visual presence.  The resulting patterns that float on near endless black grounds remain indeterminant as they variously allude to forms of the cellular or microscopic, while suggesting astronomical structures existing at an infinite scale.  These images run counter to the prevailing predescribed and precise methods of photography as exposure times remain guesswork, artistic authorship is held at bay, results are unpredictable, and the notion of 'image' itself is perhaps re-oriented."