April 14 – May 9
ANNUAL UNDERGRADUATE STUDENTS’ EXHIBITION
The Undergraduate Student Exhibition has been a Faculty of Fine Arts tradition for more than 25 years, offering students enrolled in Visual Arts programs an opportunity to present their work in a professional public gallery. This show also introduces the work of Concordia's emerging contemporary artists to the general public.
Typically the exhibition includes artwork in a variety of media, including photography, sculpture, drawing, video, and installation. The works assembled demonstrate a broad spectrum of aesthetic and technical concerns, and reveal current interests in contemporary art.
The exhibition is organized by the VAV Gallery and is juried by an undergraduate student committee which is also responsible for the design and printing of the invitations and the preparation of biographical materials that accompany the show.
From a photographic series conflating landscape and portraiture, The Children by David Morris depicts nomadic people living in the forest of a fantastical world.
A study in complex and detailed patterning, Catherine Wakim & ChanJoo Park’s sculpture-book Paper Cut presents movement, speed and the lifecycle of paper.
In a controlled environment, But Lau Lai finds the decisive moment that permits the faithful reproduction of the unpredictable red-eye effect.
The photographs of Julia Inniss plays with placement and pairing to provide hints to an unknown story. Close Your Eyes and I’ll Kiss You offers a reflective and gentle juxtaposition for the viewer’s consideration.
Ed Janzen contemplates the elusive nature of life’s potentiality with Ova Nova, a series of screen-printed images of eggs on unusual fabric supports.
Marco Royal Nicodemo’s painting assembles geometric shapes into abstract structures that threaten instability with their otherworldly physics.
Frozen in time, Matthew Gagnon’s re-contextualized mop warns not only of wet floors but also of bacterial take-over.
In her series of line drawings, Iris Godbout creates ambiguous relationships between sexual, religious and fetishistic imagery.
Kyla Chevrier’s large-scale photo transfer raises concerns regarding the propagation and archiving of imagery in our hyper-mediated world.
Erik Osberg’s 11:43 presents two images in parallel to underscore the viewer’s tendency to think in binaries when confronted with two potentially equal or opposite representations.
A distorted mimicry of Joseph Kosuth’s One and Three Chairs, Jason Gowans’ ironic representation of Hip Hop Culture, One and Three Hip Hop, illustrates how cultures are appropriated, reinterpreted and repackaged.
Human beings are depicted as passive observers of the spectacle in Bronwen Moen’s Broken Fence.
Nick Prescott’s painting The Ferry Hopes for Crofton B.C. captures the changes in a landscape transformed by industry.
Jean-Sébastien Gauthier’s bronze self-portrait as Minnie Mouse echoes the work of Franz Xavier Messerschmidt whose 18th century Character Heads depicted extreme facial expressions.
In The Workhorse Series, La Famille collective members, Katie Jung and Elif Saydam work in partnership and collaboration to rearticulate feminized modes of production while eroding the division between art and craft.
Mathieu Lavoie’s photographic series Faire le beau celebrates the pursuit of an ideal beauty through ironic, vernacular trophy images.
Joshua Noiseux presents a fertile re-visioning of the banality of urban existence in his photographic series of Montreal’s Sainte Marie neighborhood.
Janine-Annette Littmann complicates the photographic instance with the slow, laborious process of embroidery to emphasize the effort required in materializing our dreams.
In the multimedia installation Like My Father Before Me, Bridget A. Moser relies on constructed narratives and storytelling to enable the re-enactment and representation of her father’s life circa 1982.
Sarah Pupo’s painting Reveal suggests the dangers of nostalgia and the beauty and burden of collective histories.
With Precious Grenade in CMYK is Anthony Vrakotas reinterprets an icon of war using the conventions of commercial print media, creating a new relationship between the icon and the method of representation.
Laurie Kang’s The Recluse is part of a series of staged photographs that reflect the human tendency to revert to childhood to escape the banalities of everyday, adult reality.
Zoë Yuristy’s video breaks down the fundamental properties of the photographic image – light, lens and surface – to demonstrate how these form boundaries and patterns of the real. Circumscribed Constellations is a progressive flash of all the constellations in both hemispheres.
Alluding to environmental issues in his choice of materials, Ari Bayuaji’s sculptural work Forbidden Packages exploits the allure of mystery to stimulate the imagination.
Jean-Francois LaLumiere pushes the physical properties of duct tape to explore a new territory of “fantasmagoric/fantastic/fantasmic/fantasy” space.
Ma maison: c'est partout, c'est nulle part is Magalie Han Hung Pew’s response to a personal interaction with a homeless person sensitizing the artist to the issues surrounding homelessness.
Through Plexiglas and mirror, Jenni Aberman presents a world of illusions within the cube.
Kirsten McCrea portraits of North Korea’s infamous dictators reflect on the mutation of images as they enter the Western popular culture through communication media.
Martha Chudzik’s Knit/Stitch Nudes emphasize the beauty of the female form through skillfully crafted, small-scale knitted and embroidered torsos.
Catherine Tremblay's L’un ou l’autre, d'un série de 50, investigates the movement of life in a static landscape
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