<![CDATA[New Products from Circuit Gallery]]> http://www.circuitgallery.com/rss/default/@new Wed, 23 Apr 2014 17:46:43 +0000 MageWorx SEO Suite (http://www.mageworx.com/) en_CA http://blogs.law.harvard.edu/tech/rss <![CDATA[Pasab, from the series Inshallah]]> http://www.circuitgallery.com/pasab-inshallah

Artist Statement

Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan, and draws on my childhood fantasies that romanticize the military and intertwine with my past and present personal conflicts. I create a dark fairytale filled with my fears and dreams, based on my fascination with the army’s strength and order, set on the front lines of what has become America’s longest running war in history. Mesmerized by the complexity of the Afghan chaos, I strive to better comprehend my personal relationship to these wars: two empires, two mentalities, same battlefield, twelve years apart.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Gold Beach, Sector How, Green]]> http://www.circuitgallery.com/gold-beach-sector-how-green

Gold Beach, Sector How, Green. October 4, 2013, 5:45am. 17°C, 82% RELH, Wind, SW, 13 Knots. VIS: Good, Broken Clouds.

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Omaha Beach, Sector Easy, Green]]> http://www.circuitgallery.com/omaha-beach-sector-easy-green

Omaha Beach, Sector Easy Green. October 6, 2013, 10:47am. 19°C, 63% RELH, Wind, NNE, 2 Knots. VIS: Good, Few Clouds, Haze

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Omaha Beach, Sector Charlie]]> http://www.circuitgallery.com/omaha-beach-sector-charlie

Omaha Beach, Sector Charlie. October 4, 2013, 6:38pm. 17°C, 88% RELH, Wind, WSW, 8 Knots. VIS: Poor, Thunderstorm

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Omaha Beach, Sector Charlie (Pier)]]> http://www.circuitgallery.com/omaha-beach-sector-charlie-pier

Omaha Beach, Sector Charlie. October 3, 2013, 8am. 17°C, 93% RELH, Wind, ESE, 13 Knots. VIS: Fair, Moderate Rain

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Juno Beach, Sector Mike, Red]]> http://www.circuitgallery.com/juno-beach-sector-mike-red

Juno Beach, Sector Mike, Red. October 3, 2013, 4:40pm. 21°C, 83% RELH, Wind, S, 8 Knots. VIS: Good, Broken Clouds

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Pointe-du-Hoc, German Battery]]> http://www.circuitgallery.com/pointe-du-hoc-german-battery

Pointe-du-Hoc, German Battery. October 4, 2013, 5:04pm. 20°C, 68% RELH, Wind, SW, 6 Knots. VIS: Good, Breaking Clouds

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Gold Beach, Sector Item, Green]]> http://www.circuitgallery.com/gold-beach-sector-item-green

Gold Beach, Sector Item, Green. October 2, 2013, 7:35pm. 16°C, 87% RELH, Wind SE, 7 Knots, VIS: Good, Clear

War Sand Artist Statement

Wartime sacrifice on the beaches of Normandy in 1944 is well known—massive casualties, but ultimately successful. Allied soldiers, numbering over 156,000, managed to penetrate into German-occupied France on D-Day, June 6, 1944, and stoutly held their positions despite repeated counter-attacks by German divisions.

Today, the remains of vast quantities of Allied and German war material lie embedded in the beaches of Normandy, mixed in with the natural grains of sand. Shrapnel, bullet casings and armour plate are still there, 70 years later, transformed by the sea, salt, and sun into an array of micro-artifacts that span the divide between technology and nature. Archaeologists have said that up to 8 percent of this sand is made up of war shrapnel. Waves, storms, and rust will wipe this microscopic archaeology from coastal Normandy in another hundred years, and with it, the physical remembrances of WWII.

In June of 2013, I walked the beaches of coastal Normandy, the same month of the Allied invasion, collecting hundreds of sand samples from each of the five D-Day landing beaches (Utah, Omaha, Gold, Juno and Sword). I sent these back to Canada.

Working closely with Kevin Robbie of the Department of Physics at Queen’s University, we utilized a scanning electron microscope (SEM) and optical microscope to photograph the recovered sand. These microscopes have the ability to see things invisible to the naked eye, and allowed us to look at the chemical composition of the samples and to see which particles were war detritus.

It was here that I found trace evidence of the war effort from this pivotal moment in WWII and intimately recorded that which time and nature are progressively eroding from our collective memory.

I returned later that year to photograph the beaches themselves, as they are today. There, so many different elements came into play: the intensity of the landscape, the loneliness and beauty of the beaches packed up for the winter, the wind and the unpredictable weather. These beaches bore little resemblance to the images I knew from LIFE magazine and the history books.

War Sand asks questions about history and geology, and about memory and time.

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[EOD, from the series Inshallah]]> http://www.circuitgallery.com/eod-inshallah

Artist Statement

Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan, and draws on my childhood fantasies that romanticize the military and intertwine with my past and present personal conflicts. I create a dark fairytale filled with my fears and dreams, based on my fascination with the army’s strength and order, set on the front lines of what has become America’s longest running war in history. Mesmerized by the complexity of the Afghan chaos, I strive to better comprehend my personal relationship to these wars: two empires, two mentalities, same battlefield, twelve years apart.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Kandahar #1, from the series Inshallah]]> http://www.circuitgallery.com/kandahar-1-inshallah

Artist Statement

Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan, and draws on my childhood fantasies that romanticize the military and intertwine with my past and present personal conflicts. I create a dark fairytale filled with my fears and dreams, based on my fascination with the army’s strength and order, set on the front lines of what has become America’s longest running war in history. Mesmerized by the complexity of the Afghan chaos, I strive to better comprehend my personal relationship to these wars: two empires, two mentalities, same battlefield, twelve years apart.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Tangi #2, from the series Inshallah]]> http://www.circuitgallery.com/tangi-2-from-the-series-inshallah

Artist Statement

Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan, and draws on my childhood fantasies that romanticize the military and intertwine with my past and present personal conflicts. I create a dark fairytale filled with my fears and dreams, based on my fascination with the army’s strength and order, set on the front lines of what has become America’s longest running war in history. Mesmerized by the complexity of the Afghan chaos, I strive to better comprehend my personal relationship to these wars: two empires, two mentalities, same battlefield, twelve years apart.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[10:06 AM, from the series Inshallah]]> http://www.circuitgallery.com/10-06-am-from-the-series-inshallah

Artist Statement

Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan, and draws on my childhood fantasies that romanticize the military and intertwine with my past and present personal conflicts. I create a dark fairytale filled with my fears and dreams, based on my fascination with the army’s strength and order, set on the front lines of what has become America’s longest running war in history. Mesmerized by the complexity of the Afghan chaos, I strive to better comprehend my personal relationship to these wars: two empires, two mentalities, same battlefield, twelve years apart.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Densité neuter 02 / Neutral Density 02]]> http://www.circuitgallery.com/densite-neuter-02-neutral-density-02

Marie-Claire Blais' Neutral Density drawings

"This work is part of a larger series entitled Neutral density, where I explore the temporality of light and the way in which the spectrum teaches us about the physical nature of the material from which it emanates. For the last few years I have been fascinated with light and our historical understanding of it in both art and science. Working on the edge of the visible, I welcome the unknown through a process that contrasts the ephemeral qualities of air (through the use of powdery, pulverized materials) with geometric shapes that call upon our human desire to define and understand our world."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a matte Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Marie-Claire Blais

Marie-Claire Blais lives and work in Montreal. For several years now, she has focused her creative activity on drawing, while continuing her work with architecture and landscape. Blais has presented several solo exhibitions at Galerie René Blouin, in particular, Densité neutre, in 2010 and Brûler les yeux fermés, in 2012. She has shown her work at Jessica Bradley Art + Projects Gallery (Toronto), as part of In line, in 2005, and Silence, in 2007. Her solo exhibitions including participation in group exhibitions in Quebec and Ontario have revealed the delicacy and refinement characteristics of its graphical approach. She has also been part of many group shows in Montreal, Moncton, Toronto and Santiago. She is represented by Galerie Rene Blouin.

Website

www.marieclaireblais.com

Curriculum Vitae

Download as a PDF

Price:$150.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Bridge [Silver Editions 2011]]]> http://www.circuitgallery.com/bridge

TPW Silver Editions 2011

Silver Editions 2011, is a limited edition portfolio featuring photographs (pictured above from left to right) by three Canadian artists: Kotama Bouabane, Michelle O’Byrne and Michael Snow.

Silver Editions 2011 brings together a trio of images that are equal parts visually seductive and formally inventive. Though the works are produced by a diverse group of artists, each at very different stages in their careers, all three demonstrate a parallel engagement with the terms of photographic representation and a willingness to test the limits therein. The images are playful, visually pleasing and deceptively simple in their construction. And yet each one also offers up a challenge to the very terms of photographed image. They take aspects of representation to task, toying with framing, flatness and form in a way that is deeply engaging and intellectually challenging.

Silver Editions 2011 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2011 is the sixth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

Bridge

"My fascination with contemporary trade shows and the notion of 'dream' marketing is explored again within this new body of work. Bridge is from the 2010 International Auto Show. It utilizes the backdrop of a car campaign, strategically cropping out the logo and a car at the bottom of the bridge and photographed with part of the convention centre in the background. It examines the staging of culture in North American society and how it is marketed to us.

I’ve been photographing various trade shows in Montreal that range from Le Salon International De L'Auto, Salon de la Mariée and Salon National de la Pourvoirie, Chasse et Pêche. The installations at the trade shows act as sets and backdrops that are important in alluding to idealized social conventions like marriage, home and profession as artificial, alienating and phantasmagoric. The construction of each space utilizes objects that are familiar yet presented almost as artifacts that become uncanny and dislocated. The production of lifestyle and leisure are put onto display by highly choreographed scenarios."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Kotama Bouabane

Kotama Bouabane is completing an MFA in Studio Arts, Photography from Concordia University, Montreal. His work has been shown at the Harbourfront Center in Toronto, Flash Forward 2010 in Toronto, Whitney’s Biennial, NY, Empty Gallery, Montreal and Struts Gallery in New Brunswick. In 2010 the artist received the Roloff Beny Foundation Fellowship in Photography. He is represented by Erin Stump Projects in Toronto.

Website

www.kotamabouabane.com

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[English Silver [Silver Editions 2011]]]> http://www.circuitgallery.com/english-silver

TPW Silver Editions 2011

Silver Editions 2011, is a limited edition portfolio featuring photographs (pictured above from left to right) by three Canadian artists: Kotama Bouabane, Michelle O’Byrne and Michael Snow.

Silver Editions 2011 brings together a trio of images that are equal parts visually seductive and formally inventive. Though the works are produced by a diverse group of artists, each at very different stages in their careers, all three demonstrate a parallel engagement with the terms of photographic representation and a willingness to test the limits therein. The images are playful, visually pleasing and deceptively simple in their construction. And yet each one also offers up a challenge to the very terms of photographed image. They take aspects of representation to task, toying with framing, flatness and form in a way that is deeply engaging and intellectually challenging.

Silver Editions 2011 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2011 is the sixth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

English Silver

"Gesture is a series which brings to attention issues in the visual language of photography through paradoxes within the work. The gestures performed are both destructive and creative simultaneously. Through the destruction of the original image in the creation of a new image, the presence of the original is re-emphasized, revealing the process of change and inscriptions of time.

The images clearly demonstrate the hand of the artist which has cut and stapled the textured paper, however the scanning and reprinting process removes the tactility of these elements leaving only the appearance of texture and transforming the handmade object into a reproducible image. The decontextualisation of the images leaves the viewer with minimal information about the image’s original framework, reminding the viewer of the way in which photographs are often used as support to text. A tension is created because the viewer is free to explore and make new meaning out of the image, yet is constantly reminded that the image has been shifted suggesting the metamorphic effect of context."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Michelle O’Byrne

Michelle O'Byrne is a photo-based artist living and working in Vancouver. She received a BFA in Photography Studies from Ryerson University. Her work has been exhibited at the Gladstone Hotel, Lennox Gallery, AWOL Gallery and Galerie Pierre-Léon in Toronto.

Website

www.michelleobyrne.com

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Solar Breath (Northern Caryatids) [Silver Edition 2011]]]> http://www.circuitgallery.com/solar-breath-northern-caryatids

TPW Silver Editions 2011

Silver Editions 2011, is a limited edition portfolio featuring photographs (pictured above from left to right) by three Canadian artists: Kotama Bouabane, Michelle O’Byrne and Michael Snow.

Silver Editions 2011 brings together a trio of images that are equal parts visually seductive and formally inventive. Though the works are produced by a diverse group of artists, each at very different stages in their careers, all three demonstrate a parallel engagement with the terms of photographic representation and a willingness to test the limits therein. The images are playful, visually pleasing and deceptively simple in their construction. And yet each one also offers up a challenge to the very terms of photographed image. They take aspects of representation to task, toying with framing, flatness and form in a way that is deeply engaging and intellectually challenging.

Silver Editions 2011 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2011 is the sixth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

Solar Breath (Northern Caryatids)

Solar Breath (Northern Caryatids) is a 62" loop, shot from the artist's summer cabin in rural Newfoundland, which captures how over the years "a mysterious wind performance takes place in one of the windows, about an hour before sunset." The artist explains, "While on one level Solar Breath is merely a fixed-camera documentary recording, it is also the result of years of attention ... (It) is 62 minutes of the most beautiful, eloquent movements and pliages that the sun, wind, windows and curtain have yet composed. Chance and choice co-exist."

"What I saw in these sun and wind events was their potential as art. I did not record these 'events' to share this modest phenomenon from my daily life with others. No, the rich play of light, surfaces and durations said to me: this real, un-staged event contains the elements which are essential for a contemplative time-light-motion work of art..."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a matte Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Michael Snow

Michael Snow’s prolific career has encompassed experimental filmmaking, sculpture, painting, music, drawing, and photography. He first exhibited in 1956 and in the 1960s became internationally renowned with his film "Wavelength". Based in Toronto, he has exhibited internationally over the past five decades. Recent solo exhibitions have included Angels Barcelona (2009), BFI Southbank Gallery, London (2008), and the Museum of Modern Art, New York (2005). His work can be found in many of the most renowned contemporary art collections in the world, including the Museum of Modern Art in New York, the Musee d’Art Moderne de Paris, and the National Gallery of Canada. He has represented Canada at the Venice Biennale and has exhibited at most international major biennials.

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Pile 3 [Silver Editions 2010]]]> http://www.circuitgallery.com/pile-3

TPW Silver Editions 2010

Silver Editions 2010, is a limited edition portfolio featuring photographs (pictured above from left to right) by three acclaimed artists: Jesse Boles, Davida Nemeroff and Dawit Petros.

Silver Editions 2010 presents an opportunity to collect unique works by three Canadian Artists who have achieved significant recognition early in their careers. Brooklyn based Dawit Petros was recently featured in the exhibition Position As Desired / Exploring African Canadian Identity: Photographs from the Wedge Collection at the Royal Ontario Museum curated by Kenneth Montague. The Art Gallery of Hamilton presented a solo exhibition of Jesse Boles' large format industrial landscapes early in 2010. Los Angeles based artist Davida Nemeroff was featured in a solo exhibition at Gallery TPW in February 2011.

Silver Editions 2010 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2010 is the fifth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

Pile #3

"Jesse Boles addresses the sublime scale of modern industrial sites as landscape. To photograph them at night, or dawn, is a meeting of two parallel ends. First for the specificity of the lighting, as it traces the zones of activity. Secondly, because the conditions allow for lengthy exposures, resulting in a recording of time on a scale of the order of human experience. These images are at once photographic in their explicit depiction of information, and cinematic in their temporal qualities. They offer a condensation of the unique surrealism inherent in photography". - Curators Melissa Bennett and Sara Knelman, Art Gallery of Hamilton

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Jesse Boles

Jesse Boles graduated from the University of Toronto with a BA in Architectural Studies, from Ryerson University in Photographic Studies in 2005, and has exhibited at locations such as Gallery TPW, the Toronto Outdoor Art Exhibition, Art Gallery of Stratford, Edward Day Gallery, the FCP Gallery in Toronto, Redux Gallery in New York, as well as a major solo exhibition at the Art Gallery of Hamilton Boles is represented by Edward Day Gallery.

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Double Cube Formation, No. 1 [Silver Editions 2010]]]> http://www.circuitgallery.com/double-cube-formation

TPW Silver Editions 2010

Silver Editions 2010, is a limited edition portfolio featuring photographs (pictured above from left to right) by three acclaimed artists: Jesse Boles, Davida Nemeroff and Dawit Petros.

Silver Editions 2010 presents an opportunity to collect unique works by three Canadian Artists who have achieved significant recognition early in their careers. Brooklyn based Dawit Petros was recently featured in the exhibition Position As Desired / Exploring African Canadian Identity: Photographs from the Wedge Collection at the Royal Ontario Museum curated by Kenneth Montague. The Art Gallery of Hamilton presented a solo exhibition of Jesse Boles' large format industrial landscapes early in 2010. Los Angeles based artist Davida Nemeroff was featured in a solo exhibition at Gallery TPW in February 2011.

Silver Editions 2010 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2010 is the fifth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

Double Cube Formation, No. 1

The series Mahber Shaw’ate (Association of 7), takes as its starting point found cardboard boxes and an east African alphabet. Tigrinya is a language spoken in Eritrea and northern Ethiopia. Inherent to the script are 7 individual permutations that transform 33 basic consonants into 231 symbols.

The work integrates performative, sculptural and installation strategies through Photography. Each image depicts a specific permutation documented in various studio locations and landscapes.

The work does several things. It proposes an alternate, parallel model for seriality in art. Second, it offers a metaphor for subjects who are transformed within different cultural contexts. Third, it uses simple cardboard as a material to construct elegant forms, while highlighting cardboard’s association with movements of people, objects and ideas.

The result is a hybridized cartography of language. The temporary structures merge possibilities inherent in specific cultural frameworks: African and western. The photographs present a third-form, which borrows freely from both.

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Dawit Petros

Dawit L. Petros was born in Asmara, Eritrea, raised in Kenya and Canada and lives and works in Brooklyn, New York. He completed an MFA at the SMFA, Boston, (2007), a BFA in Photography at Concordia University, (2003), and a BA in History at the University of Saskatchewan, (1996). Petros’ works have been shown at The Studio Museum in Harlem, Alexander Gray Associates, Sikkema Jenkins & Co., PPOW Gallery, Gallery 4, Observatoire 4, Museum of Contemporary Art Detroit, Jack Shainman Gallery, Prefix Gallery, and Gallery 101. Awards include: Canada Council for the Arts Project Grant, Art Matters Foundation Grant; Center for Photography at Woodstock Residency, and a Fulbright Fellowship. He was an Artist-in-Residence at the Studio Museum in Harlem in New York, New York in 2008-2009.

The image is courtesy of the Artist and Alexander Gray Associates.

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[What Window Light Can do For My Dad [Silver Editions 2010]]]> http://www.circuitgallery.com/window-light

TPW Silver Editions 2010

Silver Editions 2010, is a limited edition portfolio featuring photographs (pictured above from left to right) by three acclaimed artists: Jesse Boles, Davida Nemeroff and Dawit Petros.

Silver Editions 2010 presents an opportunity to collect unique works by three Canadian Artists who have achieved significant recognition early in their careers. Brooklyn based Dawit Petros was recently featured in the exhibition Position As Desired / Exploring African Canadian Identity: Photographs from the Wedge Collection at the Royal Ontario Museum curated by Kenneth Montague. The Art Gallery of Hamilton presented a solo exhibition of Jesse Boles' large format industrial landscapes early in 2010. Los Angeles based artist Davida Nemeroff was featured in a solo exhibition at Gallery TPW in February 2011.

Silver Editions 2010 is produced in an edition of 23 and is available for sale as a set for $1,250.

Silver Editions 2010 is the fifth collection in the series. The images have been generously donated by the participating artists to support Gallery TPW, a non profit artist-run centre and registered charity. All proceeds go to support Gallery TPW’s operations, programming and mandate.



About this Work

What Window Light Can do For My Dad

This image comes from the series "Dream Baby Dream".

Shot on a family vacation in Italy, Nemeroff’s images are developed using an analogue printing process allowing her to play with the material qualities of her photographs.

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 200+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Davida Nemeroff

Davida Nemeroff is a Canadian artist working in Los Angeles, California. She holds a BFA in Photographic Studies from Ryerson University and a MFA in Visual Arts from Columbia University. Nemeroff’s work is an ongoing investigation of the frame. Currently she is the director of the nocturnal platform Night Gallery in Los Angeles. Her work has been exhibited in Canada, The United States, Germany and South Korea. Davida Nemeroff is represented by Annie Wharton Los Angeles in the U.S. and Katharine Mulherin Contemporary Art Projects in Canada.

Website

www.davidanemeroff.com

Price:$1,250.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Beach Ball]]> http://www.circuitgallery.com/beach-ball

Eamon Mac Mahon's Water photographs

Alphabet City and Circuit Gallery are pleased to present an extraordinary opportunity to own an exclusive special edition of three photographs by Canadian photographer Eamon Mac Mahon, which he has donated for this sale.

In these spectacular images drawn from his contribution to AbC's Water anthology, Mac Mahon explores water in a variety of states, from frozen to gaseous to tumultuous.

About the Print

These editions, supervised by the artist, are printed with archival pigment inks on a satin photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Eamon Mac Mahon

Work by Toronto-based photographer/videographer Eamon Mac Mahon has appeared in various publications including W Magazine, National Geographic, New York Magazine, and The Walrus, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures, NYC. His work is included in numerous international, private and corporate collections including the Art Gallery of Alberta, Concord Adex and Bank of Montreal. He was awarded the 2007 HP Prize for Photography, nominated for the 2008 Prix Pictet and has been named one of PDN's 30 International Emerging Photographers to Watch.

Mac Mahon also spends much of his time creating video projections for stage productions, and working as a cameraman on short films and documentaries.

Website

eamonmacmahon.com

Price:$200.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Standing Wave #4, from the series Water's Edge]]> http://www.circuitgallery.com/standing-wave-4

Andrew Wright is a multi-disciplinary artist who has been photographing subjects at night for the past 7 years. He has worked towards a particular kind of imagery that both identifies and challenges conventional uses and understandings of photographic practice. He creates images that sit on the edge of possibility—ones that are rife with the plenitudes of realistic detail and, at the same time, full of the potential energy of their own collapse—“a kind of wished-for uncertainty”

Partly as a result of a stint as a war artist aboard the HMCS Toronto in the North Atlantic in 2005, Wright turns his attention to water in this series, entitled "Water's Edge." These raw images of North America’s largest standing waves probe both fiction and reality. They are images of near impossible complexity that engulf, astound, and confound.

Shot precipitously close to the rapids of the Niagara gorge (Wright required a specially trained police escort to accompany him) and against dark grounds, these waters are perceptually removed from their real world context. The contradictions abound: standing waves are both static and dynamic; scale is confused as what can appear as miniaturized is in fact many meters tall; chaos and randomness appear to be at once organized in front of Wright’s lens.

His practice is one wherein images laud, reveal and question the conditions of their making. He continues to choose subject matter that is either minimal or barely existing or subjects that contain a staggeringly overwhelming fullness. His photographs of natural settings are objects and places that at first appear pure and unadulterated by human intervention. The imposition of artificial light not only serves to reveal and illuminate but renders the subject’s overt naturalism suspect. The descriptive visual plenty provided by the light serves, at the same time, to throw the image’s veracity into question.

Read Review

Mark Cheetham, "Water's Edge," Border Crossings Magazine, Issue No. 103, Fall 2007

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Standing Wave #6, from the series Water's Edge]]> http://www.circuitgallery.com/standing-wave-6

Andrew Wright is a multi-disciplinary artist who has been photographing subjects at night for the past 7 years. He has worked towards a particular kind of imagery that both identifies and challenges conventional uses and understandings of photographic practice. He creates images that sit on the edge of possibility—ones that are rife with the plenitudes of realistic detail and, at the same time, full of the potential energy of their own collapse—“a kind of wished-for uncertainty”

Partly as a result of a stint as a war artist aboard the HMCS Toronto in the North Atlantic in 2005, Wright turns his attention to water in this series, entitled "Water's Edge." These raw images of North America’s largest standing waves probe both fiction and reality. They are images of near impossible complexity that engulf, astound, and confound.

Shot precipitously close to the rapids of the Niagara gorge (Wright required a specially trained police escort to accompany him) and against dark grounds, these waters are perceptually removed from their real world context. The contradictions abound: standing waves are both static and dynamic; scale is confused as what can appear as miniaturized is in fact many meters tall; chaos and randomness appear to be at once organized in front of Wright’s lens.

His practice is one wherein images laud, reveal and question the conditions of their making. He continues to choose subject matter that is either minimal or barely existing or subjects that contain a staggeringly overwhelming fullness. His photographs of natural settings are objects and places that at first appear pure and unadulterated by human intervention. The imposition of artificial light not only serves to reveal and illuminate but renders the subject’s overt naturalism suspect. The descriptive visual plenty provided by the light serves, at the same time, to throw the image’s veracity into question.

Read Review

Mark Cheetham, "Water's Edge," Border Crossings Magazine, Issue No. 103, Fall 2007

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Standing Wave #10, from the series Water's Edge]]> http://www.circuitgallery.com/standing-wave-10

Andrew Wright is a multi-disciplinary artist who has been photographing subjects at night for the past 7 years. He has worked towards a particular kind of imagery that both identifies and challenges conventional uses and understandings of photographic practice. He creates images that sit on the edge of possibility—ones that are rife with the plenitudes of realistic detail and, at the same time, full of the potential energy of their own collapse—“a kind of wished-for uncertainty”

Partly as a result of a stint as a war artist aboard the HMCS Toronto in the North Atlantic in 2005, Wright turns his attention to water in this series, entitled "Water's Edge." These raw images of North America’s largest standing waves probe both fiction and reality. They are images of near impossible complexity that engulf, astound, and confound.

Shot precipitously close to the rapids of the Niagara gorge (Wright required a specially trained police escort to accompany him) and against dark grounds, these waters are perceptually removed from their real world context. The contradictions abound: standing waves are both static and dynamic; scale is confused as what can appear as miniaturized is in fact many meters tall; chaos and randomness appear to be at once organized in front of Wright’s lens.

His practice is one wherein images laud, reveal and question the conditions of their making. He continues to choose subject matter that is either minimal or barely existing or subjects that contain a staggeringly overwhelming fullness. His photographs of natural settings are objects and places that at first appear pure and unadulterated by human intervention. The imposition of artificial light not only serves to reveal and illuminate but renders the subject’s overt naturalism suspect. The descriptive visual plenty provided by the light serves, at the same time, to throw the image’s veracity into question.

Read Review

Mark Cheetham, "Water's Edge," Border Crossings Magazine, Issue No. 103, Fall 2007

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[below the surface of objects 4]]> http://www.circuitgallery.com/below-the-surface-of-objects-4

I have always felt there is something below the surface of objects, an "incorporeal essence" in the land that we all resonate with on a profound level. I believe this resonance is of primal origin. Our connection with the land is on the level of DNA, woven into the core of our being.

Each image is a single hand-held exposure of the basic elements of the land: tree, water, rock and light. This simplification of process and subject is designed to strip away distractions that hinder an emotive connection with the land. To this end, my imaging is less about the material world and more about an experience of emotive energetic moments.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[below the surface of objects 10]]> http://www.circuitgallery.com/below-the-surface-of-objects-10

I have always felt there is something below the surface of objects, an "incorporeal essence" in the land that we all resonate with on a profound level. I believe this resonance is of primal origin. Our connection with the land is on the level of DNA, woven into the core of our being.

Each image is a single hand-held exposure of the basic elements of the land: tree, water, rock and light. This simplification of process and subject is designed to strip away distractions that hinder an emotive connection with the land. To this end, my imaging is less about the material world and more about an experience of emotive energetic moments.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[below the surface of objects 8]]> http://www.circuitgallery.com/below-the-surface-of-objects-8

I have always felt there is something below the surface of objects, an "incorporeal essence" in the land that we all resonate with on a profound level. I believe this resonance is of primal origin. Our connection with the land is on the level of DNA, woven into the core of our being.

Each image is a single hand-held exposure of the basic elements of the land: tree, water, rock and light. This simplification of process and subject is designed to strip away distractions that hinder an emotive connection with the land. To this end, my imaging is less about the material world and more about an experience of emotive energetic moments.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Popsicle Fcae]]> http://www.circuitgallery.com/popsicle

Popsicle Fcae

"This is in the line of edible products from a Central American dairy company that specializes in icy treats for hot days. I couldn't tell if this was designed to look this way, or had half melted somewhere and then been re-frozen."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a glossy Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Dean Baldwin

Dean Baldwin is an artist living and working, back and forth, between Toronto, Canada and London, England. He has been very busy lately, exhibiting work in Italy, Switzerland, Ireland and the U.K. Upcoming projects include the inaugural exhibit in the series “Toronto Now” at the AGO.

His work "Attempt at an Inventory" was published by MIT press in the Alphabet City Series FOOD edited by John Knechtel. His work has received reviews from The Globe and Mail, The National Post, ArtUS, Artforum, Voir, La Tribune, ICI, THIS, NOW and Eye Magazine.

Price:$120.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #16, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-16-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #17, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-17-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #18, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-18-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #19, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-19-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #20, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-20-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #21, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-21-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #22, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-22-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #23, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-23-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #24, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-24-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Escobedo]]> http://www.circuitgallery.com/fragmented-cities-escobedo

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Santa Catarina #1]]> http://www.circuitgallery.com/fragmented-cities-santa-catarina-1

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Garcia]]> http://www.circuitgallery.com/fragmented-cities-garcia

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Santa Catarina #2]]> http://www.circuitgallery.com/fragmented-cities-santa-catarina-2

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Juarez #1]]> http://www.circuitgallery.com/fragmented-cities-juarez-1

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Juarez #2]]> http://www.circuitgallery.com/fragmented-cities-juarez-2

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Apodaca]]> http://www.circuitgallery.com/fragmented-cities-apodaca

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fragmented Cities, Santa Catarina #3]]> http://www.circuitgallery.com/fragmented-cities-santa-catarina-3

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM). [Fragmented Cities], the first part of the project, sheds light on the implemented neo-liberal economic strategies made by the Mexican government since 2001 that have pushed urban growth out of the regulation of the metropolitan urban plan. This has created contradicting policies that have let construction firms build more than 300,000 new houses around the 9 cities of the MAM. In 2008, the national housing commission […] issued 497,000 loans towards buying houses.... Consequently, this demand has granted a green light to developers to urbanize in ways where profit is sought out over the well being of the community, with roadways, parks and proper public transport systems standing far from becoming a reality. Amazingly even in the financial and mortgage crisis being lived in most of the world, the commission announced in June that they will position another 500,000 loans for housing in 2009. After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into.

The different aspects of Suburbia Mexicana propose alternate narratives, which depict a global issue from a local perspective. I feel that my commitment as a photographer is not to denounce our need for a household, but rather to point out the struggle we face following the ideals of a capitalistic system while striving for fairer cities in which to live."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[View Of The City Of San Pedro]]> http://www.circuitgallery.com/view-of-the-city-of-san-pedro

Artist Statement

"Suburbia Mexicana is a five part project that revolves around the representation of the current Mexican suburban sprawl with a focus on the metropolitan area of Monterrey (MAM).

The Other Distance, looks at San Pedro Garza Garcia, one of the richest municipalities in Latin America. I was interested in portraying the relationship between wealthy and middle-low class urbanization models and the direct relationship they have in a neo-liberal capitalist state economic structure. This economic contrast influences segmentation of social life styles, pushing further and further away those who are not able to buy "good" land or build houses near the better-urbanized city. When one compares, the contrast points out a perverse reality of how both spaces are conformed: one is almost completely deprived of social cohesion space like parks and plazas, and nor are they fit for well designed transport infrastructure, hospitals or education centers; while the other model lives and expects, as their right to the city, to have these spaces and services available to them. Ironically, both communities are completely entwined and dependent on each other; for the economically wealthy depend on the unending process of urbanization and on the labor of the people living in these far away "cities" to keep their capitals growing and the laborer class depend on them to acquire these new houses and make a living.

"The root cause of urban slumming seems to lie not in urban poverty but in urban wealth" - Gita Verma

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[below the surface of objects 5]]> http://www.circuitgallery.com/below-the-surface-of-objects-5

I have always felt there is something below the surface of objects, an "incorporeal essence" in the land that we all resonate with on a profound level. I believe this resonance is of primal origin. Our connection with the land is on the level of DNA, woven into the core of our being.

Each image is a single hand-held exposure of the basic elements of the land: tree, water, rock and light. This simplification of process and subject is designed to strip away distractions that hinder an emotive connection with the land. To this end, my imaging is less about the material world and more about an experience of emotive energetic moments.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[below the surface of objects 3]]> http://www.circuitgallery.com/below-the-surface-of-objects-3

I have always felt there is something below the surface of objects, an "incorporeal essence" in the land that we all resonate with on a profound level. I believe this resonance is of primal origin. Our connection with the land is on the level of DNA, woven into the core of our being.

Each image is a single hand-held exposure of the basic elements of the land: tree, water, rock and light. This simplification of process and subject is designed to strip away distractions that hinder an emotive connection with the land. To this end, my imaging is less about the material world and more about an experience of emotive energetic moments.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled 7]]> http://www.circuitgallery.com/untitled-7

Untitled 7, from the Double Page Spread series

"A double page spread refers to an article or photograph that covers two facing pages of a publication. This work reflects my interest in print culture and books specifically as source material. Content and form vary but repeated themes include clichés in relation to travel photography, representations of women (in general) and constructions of beauty in the natural landscape."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a gloss Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Cecilia Berkovic

Cecilia Berkovic is a visual artist and award-winning graphic designer living in Toronto. Her work is photo-based and includes print and poster projects as well as installation. She practices collaboratively with Vancouver/Toronto-based art collective Instant Coffee and sits on the Board of Directors at Gallery TPW. She is currently pursuing graduate studies at Bard College in upstate New York.

Price:$120.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Shroud]]> http://www.circuitgallery.com/shroud

Shroud

"In current photographic work I am interested in investigating motherhood as an event steeped simultaneously in the intensity of anxiety and exhilaration, momentous gain and the spectre of loss."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Lindsay Page

Lindsay Page is a Canadian interdisciplinary artist working primarily in photography and video installation. She received her BFA from Ryerson University and her MFA from the School of the Art Institute of Chicago. Her work has been exhibited internationally and her photographic work has appeared in publications including the New Yorker (2009), Emergence: Contemporary Photography in Canada (2009), Flash Forward (2008), and Camera Austria (Spring 2007).

Website

lindsaypage.com

Curriculum Vitae

Download as a PDF

Price:$120.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #10, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-10-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #6, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-6-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #7, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-7-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #8, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-8-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #9, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-9-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #1, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #2, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-2-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #3, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-3-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #4, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-4-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

]]>
Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Untitled Lost River #5, from the Suburbia Mexicana Project]]> http://www.circuitgallery.com/untitled-lost-river-5-from-the-suburbia-mexicana-project

Artist Statement

"Through the 1960s and 80s many photographers portrayed and centered their work on industrial and suburban sites; the man altered landscape. It is now, 30 years later, that the inevitable action-reaction to those human acts they pictured would start to show up. Lost Rivers is a representation of nature's non-beneficiaries of our actual urban well-being. In the northeastern Mexican state of Nuevo León, some rivers and streams have dried out or are in the process of drying after Monterrey's metropolitan area erupted its urban growth and its demand for water. These dried up streams and rivers are one of many unintended consequences of wrongly implemented economical strategies. Relying less on irony and more on a romantic representation of decay, Lost Rivers is a social comment on contemporary Mexican unplanned urban development."

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[HAVE YOU SEEN]]> http://www.circuitgallery.com/have-you-seen

HAVE YOU SEEN

"This poster with mail-art instructions by Ron Terada was hanging in my home office. Our house cat was chasing moths and was poised in front of the poster on top of the television in a conspicuous manner. HAVE YOU SEEN THIS KITTEN? becomes a WANTED poster, and our tabby Helen of Troy is implicated in a mysterious conceptual art crime."

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a satin Photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Diane Borsato

Diane Borsato is a visual artist working in performance, intervention, video, installation, and photography. She has exhibited in galleries and museums across Canada and internationally including Skol, The National Museum of Fine Arts of Quebec, the AGYU, the Museum of Contemporary Canadian Art, and The Power Plant. She is the 2008 winner of the Victor Martyn Lynch-Staunton Award from the Canada Council for the Arts. Diane Borsato is currently Assistant Professor of Interdisciplinary Studio at the University of Guelph, and lives in Toronto.

Curriculum Vitae

Download as a PDF

Website

dianeborsato.net

Price:$120.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Spotti Fang]]> http://www.circuitgallery.com/spotti-fang

Spotti Fang

Props and tribute to Spotti, a distinguished orange tabby brother in the barn cat family of the House of Bast. In recent nocturnal mortal combat his fangs have best 11 rats.

About the Print

This edition, supervised by the artists, is printed with archival pigment inks on a satin Photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artists

FASTWÜRMS

Formed in 1979 by Kim Kozzi and Dai Skuse, FASTWÜRMS is the trademark and joint authorship of these Toronto/Creemore - based multidisciplinary artists whose artwork melds high and popular cultures, bent identity politics, social exchange and a Witch positive DIY cinematic sensibility.

FASTWÜRMS has exhibited and created public commissions and installations, performance, video and film projects, across Canada and in the United States, Europe, Korea, and Japan.

Exhibitions include 'Anacowda- happy to feed the world', for Rococo Tattoo at the Power Plant, 'Superstition' at Gallery TPW, 'Red of Tooth and Kaw' at the Mendel Art Gallery, Toronto, and 'BLOOD & SWASH 3' at Parlour Projects, Brooklyn, N.Y., 27th Bienale de Sao Paulo, and 'Donky@Ninja@Witch' at the Art Gallery of York University, North York, the Contemporary Art Galley, Vancouver, and Plug In ICI, Winnipeg. They recently performed 'Krummi Krunkar: Tarot+Tattoo' in Reykjavik as part of the SEQUENCES Festival.

FASTWÜRMS' cultural politics are complex and strategically subversive, their critical aesthetics relational and inclusive with a bent towards working class, craft collaborations, and queer alliance.

Price:$120.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Lake Ice]]> http://www.circuitgallery.com/lake-ice

Eamon Mac Mahon's Water photographs

Alphabet City and Circuit Gallery are pleased to present an extraordinary opportunity to own an exclusive special edition of three photographs by Canadian photographer Eamon Mac Mahon, which he has donated for this sale.

In these spectacular images drawn from his contribution to AbC's Water anthology, Mac Mahon explores water in a variety of states, from frozen to gaseous to tumultuous.

About the Print

These editions, supervised by the artist, are printed with archival pigment inks on a satin photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Eamon Mac Mahon

Work by Toronto-based photographer/videographer Eamon Mac Mahon has appeared in various publications including W Magazine, National Geographic, New York Magazine, and The Walrus, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures, NYC. His work is included in numerous international, private and corporate collections including the Art Gallery of Alberta, Concord Adex and Bank of Montreal. He was awarded the 2007 HP Prize for Photography, nominated for the 2008 Prix Pictet and has been named one of PDN's 30 International Emerging Photographers to Watch.

Mac Mahon also spends much of his time creating video projections for stage productions, and working as a cameraman on short films and documentaries.

Website

eamonmacmahon.com

Price:$150.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Shore Break]]> http://www.circuitgallery.com/shore-break

Eamon Mac Mahon's Water photographs

Alphabet City and Circuit Gallery are pleased to present an extraordinary opportunity to own an exclusive special edition of three photographs by Canadian photographer Eamon Mac Mahon, which he has donated for this sale.

In these spectacular images drawn from his contribution to AbC's Water anthology, Mac Mahon explores water in a variety of states, from frozen to gaseous to tumultuous.

About the Print

These editions, supervised by the artist, are printed with archival pigment inks on a satin photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Eamon Mac Mahon

Work by Toronto-based photographer/videographer Eamon Mac Mahon has appeared in various publications including W Magazine, National Geographic, New York Magazine, and The Walrus, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures, NYC. His work is included in numerous international, private and corporate collections including the Art Gallery of Alberta, Concord Adex and Bank of Montreal. He was awarded the 2007 HP Prize for Photography, nominated for the 2008 Prix Pictet and has been named one of PDN's 30 International Emerging Photographers to Watch.

Mac Mahon also spends much of his time creating video projections for stage productions, and working as a cameraman on short films and documentaries.

Website

eamonmacmahon.com

Price:$150.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Newspaper]]> http://www.circuitgallery.com/newspaper

The Eternal Present

As I grow older, it seems that loss provides inspiration and the provocation to propel many of the themes underlying my photographs. This ongoing body of work strives to transcend my relationship with places over time and attempts to address some sort of change in my eternal present. My hope is that they will not be placed in any specific period but merely suggest a contemporary location with the sensation of an imposing past.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Nightclub]]> http://www.circuitgallery.com/nightclub This image is part of a series entitled Blasted. Blasted consists of imagery intended to represent a moment in time in which people are transfixed by non-reality.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[Fruit]]> http://www.circuitgallery.com/fruit

The Eternal Present

As I grow older, it seems that loss provides inspiration and the provocation to propel many of the themes underlying my photographs. This ongoing body of work strives to transcend my relationship with places over time and attempts to address some sort of change in my eternal present. My hope is that they will not be placed in any specific period but merely suggest a contemporary location with the sensation of an imposing past.

Price:$0.00

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Wed, 23 Apr 2014 17:46:43 +0000
<![CDATA[I Turned My Camera On (And Took This Picture) No.2]]> http://www.circuitgallery.com/micah-lexier-camera2

I Turned My Camera On (And Took This Picture) No.2

This is the second in a series of images that I made by turning my camera on and pressing the button – two quick actions made one right after the other. I did not look through the viewfinder or at the screen. It has nothing to do with the Spoon song of the same name but I do love the band and that song.

About the Print

This edition, supervised by the artist, is printed with archival pigment inks on a matte Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Micah Lexier

Micah Lexier is a Winnipeg-born, Toronto-based artist. He curates occasionally and collects often – generally items made of paper, including out-of-print conceptual art documents, printed cardboard boxes, and various items found on the street. He has a deep interest in measurement, numbers, and the kinds of casual marks we make in our day-to-day lives. Lexier has had over 90 solo exhibitions, participated in over 150 group exhibitions and produced a dozen public commissions. Micah Lexier is represented in Toronto by Birch Libralato, in Calgary by TrepanierBaer, and in Berlin by the Gitte Weise Galerie.

Website

www.micahlexier.com

Price:$120.00

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<![CDATA[Steam Tornado]]> http://www.circuitgallery.com/steam-tornado

Eamon Mac Mahon's Water photographs

Alphabet City and Circuit Gallery are pleased to present an extraordinary opportunity to own an exclusive special edition of three photographs by Canadian photographer Eamon Mac Mahon, which he has donated for this sale.

In these spectacular images drawn from his contribution to AbC's Water anthology, Mac Mahon explores water in a variety of states, from frozen to gaseous to tumultuous.

About the Print

These editions, supervised by the artist, are printed with archival pigment inks on a satin photographic paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Eamon Mac Mahon

Work by Toronto-based photographer/videographer Eamon Mac Mahon has appeared in various publications including W Magazine, National Geographic, New York Magazine, and The Walrus, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures, NYC. His work is included in numerous international, private and corporate collections including the Art Gallery of Alberta, Concord Adex and Bank of Montreal. He was awarded the 2007 HP Prize for Photography, nominated for the 2008 Prix Pictet and has been named one of PDN's 30 International Emerging Photographers to Watch.

Mac Mahon also spends much of his time creating video projections for stage productions, and working as a cameraman on short films and documentaries.

Website

eamonmacmahon.com

Price:$150.00

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<![CDATA[Alter Piece, from the series "To Everything There is A Season"]]> http://www.circuitgallery.com/alter-piece

This edition, supervised by the artist, is printed with archival pigment inks on a matte Fine Art paper. The ink and paper combination have a display permanence rating of 150+ years. All our prints are made with the greatest attention to quality and a concern for permanence.



About the Artist

Annie MacDonell

Annie MacDonell is a Toronto-based artist working with film, photography, collage and installation. Recent exhibitions include solo shows at The Khyber ICA, Artspace and Gallery TPW, and participation in group shows such as "Dans la nuit, des images" at the Grand Palais, in Paris, "Modestly Spectacular" at Katharine Mulherin Contemporary Art, and "Signals in the Dark" the Blackwood Gallery and the Ellen and Leonard Bina Gallery in Montreal.

Website

www.anniemacdonell.ca

Curriculum Vitae

Download as a PDF

Price:$120.00

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<![CDATA[The Limits of Language 3]]> http://www.circuitgallery.com/the-limits-of-language-3 This is a digital collage from a series of prints related to the net.art project “88 Constellations for Wittgenstein (to be played with the Left Hand)”.

Price:$0.00

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<![CDATA[Buenos Aires]]> http://www.circuitgallery.com/buenos-aires

Buenos Aires (Bobby Fischer vs Tigran Vartanovich Petrosian, 1971 - Fischer in 34 moves)

Robert James Fischer vs Tigran Vartanovich Petrosian Buenos Aires, 1971. Sicilian Defense. Petrosian played a strong theoretical novelty in the first game and had Fischer on the ropes, but Fischer defended and won the game in 34 moves. Every move is represented here. All of the moves of this game are overlapped onto one board. Pieces leave an impression wherever they sit. The longer they sit, the more distinct the impression.

Price:$0.00

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<![CDATA[Counselor's Room]]> http://www.circuitgallery.com/counciler-s-room

The Eternal Present

As I grow older, it seems that loss provides inspiration and the provocation to propel many of the themes underlying my photographs. This ongoing body of work strives to transcend my relationship with places over time and attempts to address some sort of change in my eternal present. My hope is that they will not be placed in any specific period but merely suggest a contemporary location with the sensation of an imposing past.

Price:$0.00

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<![CDATA[Petalhead Portrait 17: circa 1944]]> http://www.circuitgallery.com/petalhead-portrait-17-circa-1944 “Petalheads” is a series of ink and watercolour drawings that depict the lives of flower-headed men and the trials and tribulations they face in the Natural world. In the series, the petalhead portraits function as a marker of time and of the petalheads that have come before, rose tinted and of another era.

Price:$0.00

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<![CDATA[Still #1 from the series Light]]> http://www.circuitgallery.com/still-1-from-the-series-light This series of digital video drawings is an exploration of the possibilities of ‘creation’ within a digital compositing program. These conceptually formalist pieces are not traditional drawing, video, or animation – but something unique born from within this medium. Visually referring to natural elements, while being absolutely devoid of original materials, they retain the coldness of their digital origins, while bringing to mind the essence of their subject matter.

Price:$0.00

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<![CDATA[Parts 8-2]]> http://www.circuitgallery.com/parts-8-2 From the series 'Verbatim'

Artifacts become knowable in part because they are enmeshed within the back and forth and round about of telling what they are, and because telling devolves upon discernable rhetorical conventions, like genres and specialized vocabularies, that are themselves largely the result of unconscious consensus. (1)

The sites and subjects that I explore consider the temporal uncertainty that photographs evoke in relation to memory, technology and experience. The exhibition Verbatim is comprised of digital images made with a flatbed scanner. The prints are “contact images” that remember and forget the earlier technological processes of photography and typewriting. Photography, typing, and phonographic writing (stenographer’s shorthand) are all historically associated with the technologies of verbatim inscription. The history and memory of our embodied relationship to these technologies is essential to the human-computer interface of contemporary digital technologies. Verbatim reconsiders the development of language machines and the subsequent systems of storage and retrieval.

In 1997 I dismantled a manual typewriter. The physical contact with the object was used as a procedure for remembering an obsolete technology that has influenced and predated my experience. The cultural complexity of the apparatus, its design, function, and mechanical precision were conveyed through this process of disassembly. The labour that fabricated and implemented the writing machine was also revealed. Since that time, I have been reassembling the artifacts of this experience as digital images. The mechanical artifacts are texts and stories that may be transcribed and retold. As Lisa Gitelman has noted, “[n]ew inscriptions signal new subjectivities”. (2)

This project is an exploration of organic and inorganic memory through the borders and interface that continue to define the human experience with machines. As a child, I was fascinated with the beauty of the mechanical imprint produced by the typewriter. During the disassembly of the machine, the indexical traces of the type hammer were rediscovered as random letters inscribed into the typewriter ribbon. As the unintended graffiti of a prior vocation, these marks register a presence and an absence. Like the machine that harbored them, they are passé. These ribbons became the source for two scrolls that recollect the embedded memory in the ribbon.

The writing machines had a profound effect on the organization of institutions, labour and the accumulation and dissemination of knowledge. They were instrumental in redefining experience as pattern and information. Concurrently, the bureaucracies that utilized writing machines and reproductive technologies during the twentieth century enhanced the systemic efficiency of surveillance, accountability and archiving that have subsequently abridged many areas of human experience. The computer expands and supplements the legacy of this technology.

In this context, the works in Verbatim may provide an intriguing encounter with the subjective memory and oblivion that our relationship to technology evokes.

Notes:

(1) Lisa Gitelman, Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford: Stanford University Press, 1999), 7.
(2) Ibid. 11.

Price:$0.00

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<![CDATA[Fossil #16]]> http://www.circuitgallery.com/fossil-16 Backlighting impressions of my own footprints in snow, the Fossil series became a means of questioning my impact on the natural world. The idea of photographing one’s own footprints as evidence is somewhat cliché but current concerns for the environment have also freed the “footprint” from its physical manifestation to represent the impacts all of our actions have on the natural world. But even in these times when fears of a climate meltdown seem inevitable, its clear to me too that our individual impression upon nature is but momentary and will soon fade away just like the snow. This tension of temporal uncertainty speaks to the complexity of our relationship with nature.

Price:$0.00

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