Hua Jin
Don’t Look You Will See
June 22 – July 29, 2016

&

Far Out: A glimpse at black & white sculpture, photography, & painting
René Pierre Allain, Keith W. Bentley, Osheen Harruthoonyan, Philip Iverson, and Annie Taylor
June 22 – July 29, 2016

“you must look, and look, and look… until you are blind with looking.  And out of that blindness comes illumination.”1

Hua Jin, Don’t Look You Will See – Birds, 2015, inkjet print, 71.3 x 53.5 inches, edition of 5

Hua Jin, Don’t Look You Will See – Birds, 2015, inkjet print, 71.3 x 53.5 inches, edition of 5

 

Jin’s work is deeply rooted in her personal experiences.  Through photography, video, and installation, Jin explores loss, trauma, and fundamental questions surrounding life and death.  She is interested in a world-view that embraces transience; of time, materiality, and the ultimate emptiness that awaits.  Having experiences that radically altered her perspective and comfort in life, Jin found solace behind the camera.  She began to interpret the world through a filter, the camera lens.  This arrangement allowed the artist to see and feel her surroundings in a way she never had before, with serenity.

That same calmness can be seen in Don’t Look, You Will See.  These large-scale landscapes seduce you with their exquisite detail and envelop you with peaceful tranquility.  The works are an exploration in visual meditation.  Through her studies of Buddhism, Jin sees parallels in her life and work.  The connection is undeniable.  The Buddhist principle of ‘bare’ or ‘naked attention’ is the stripping of previous experience, emotional involvement, and subjective judgment while observing.  There is a disconnect between the act of looking in combination with mental capacity (knowledge and emotion), an act Jin describes as the gap between the physical eyes and the mental eyes.  Paying attention too closely to only the physical or the emotional will inevitably lead to an incomplete experience.

Jin is a visual artist currently based in Montreal.  Originally from China, Jin recently completed her MFA in Photography at Concordia University.  Jin’s work has been exhibited Montreal, Toronto, Vancouver, Chicago, Beijing, and Shanghai.  She is the recipient of numerous awards including the 2012 Emerging Artist Award for the Vancouver Mayor’s Art Awards for Visual Arts, the TOP20 Chinese Contemporary Photographer Award, and the Canon Photography Award for her work featured in the 2012 Emily Carr University of Art and Design Graduate Exhibition where she completed her Bachelor of Fine Arts in Photography.

1. Buddha Mind in Contemporary Art, Nowhere from Here, Jacqueline Baas.

Hua Jin, Double Landscape – Vine #1, 2015, inkjet print, 46 x 70 inches, edition of 5 (left) and Hua Jin, Double Landscape – Vine #2, 2015, inkjet print, 46 x 61 inches, edition of 5 (right)

Hua Jin, Double Landscape – Vine #1, 2015, inkjet print, 46 x 70 inches, edition of 5 (left) and Hua Jin, Double Landscape – Vine #2, 2015, inkjet print, 46 x 61 inches, edition of 5 (right)

Far Out: A glimpse at black & white sculpture, photography, & painting
René Pierre Allain, Keith W. Bentley, Osheen Harruthoonyan, Philip Iverson, and Annie Taylor
June 22 – July 29, 2016

Keith W. Bentley, Untitled (Second Attempt), 2014, resin figure, wood, paint, and plastic bristles, 33 x 13 x 9 inches

Keith W. Bentley, Untitled (Second Attempt), 2014, resin figure, wood, paint, and plastic bristles,
33 x 13 x 9 inches

Lonsdale Gallery presents Far Out: A glimpse at black & white sculpture, photography & painting featuring work by René Pierre Allain, Keith W. Bentley, Osheen Harruthoonyan, Philip Iverson, and Annie Taylor.  The exhibition will be on view until Friday, July 29, 2016 in the Main Gallery.

This group show is a selection of artists working in different mediums and processes whose work is united through their use of the monochromatic palette of black and white.  Black and white printing processes, films, photography, paintings, drawings, and sculptures have a rich history in art.  Historically, colour printing and pigments were expensive and often times unrealistic depictions of the subject which resulted in a preference for black and white due to its true-to-life visualization of the world.

René Pierre Allain’s work is a hybrid of sculpture and painting.  Evident in the hard edge of the steel coupled with delicate hand painted surfaces, Allain uses this binary relationship to investigate disjuncture.

Keith W. Bentley’s work is shaped by his personal dialogue with religion, sexuality, and the cannon of art.  By altering found sculptures, Bentley questions the messages behind the original.  Bold chiaroscuros are made strange, figures are dissected and pieced back together with hinges and other everyday objects.  The once pristine surfaces are given new life through hyper-saturated colour and obfuscation.

Philip Iverson’s work, informed by expressionism, focuses on the exaggerated and distorted figure to reveal inner attitudes, emotions, desires and frustrations.

Osheen Harruthoonyan is an experimental photographer working exclusively in traditional wet darkroom.  Drawing on his rich experiences of growing up in Iran, Greece, and Canada, Harruthoonyan utilizes a multi-faceted approach towards his investigations of memory, history, and time.

Annie Taylor is an image-based artist working primarily in photography and video. Through an exploratory artistic practice informed by art history and earth sciences, she investigates the changing relationship between human beings and nature.

Osheen Harruthoonyan, Heart Beats, 2010, sepia, selenium, gold toned gelatin silver print, 45 x 37.5 inches (framed)

Osheen Harruthoonyan, Heartbeats, 2010, sepia, selenium, gold toned gelatin silver print, 45 x 37.5 inches (framed)