274 East 1st

3 June–8 July 2006

274 East 1st

274 East 1st is a major exhi­bi­tion of new work by gallery artists that inau­gu­rates the gallery’s move to the cen­tral Main Street/Terminal Avenue area of Van­cou­ver, at 274 East 1st Avenue.

The newly ren­o­vated 6500 square-foot indus­trial ware­house space, designed by architect/artist Robert Kleyn, marks a new sit­u­a­tion from which the project of the gallery will pro­ceed. This open­ing group exhi­bi­tion ini­ti­ates the prac­ti­cal and aes­thetic recon­fig­u­ra­tion of the space and declares a ground­note from which future instal­la­tions, inter­ven­tions and cura­to­r­ial col­lab­o­ra­tions can develop. The forth­com­ing prac­tice at Catri­ona Jef­fries will offer both a civic coun­ter­point and keen com­mit­ment to artists’ rep­re­sen­ta­tion internationally.

Kevin Schmidt spins an archi­tec­tural model of the new space into a table­top role-playing game à la Dun­geons and Drag­ons, almost a stone’s throw away from a sil­ver poly­he­dral die named Sci­ence World. In another new work, Schmidt observes and records the syn­thetic allure of a cus­tom fake, or cover ver­sion, which he cre­ated in order to track its col­lectible value on Ebay. Six new pho­tographs by Geof­frey Farmer, real­ized out of A Pale Fire Free­dom Machine (2005), depict grace­ful assem­blages of out­moded, mass-produced wooden fur­ni­ture. A brand new video work by Farmer will also be on view. Four new can­vases by Ian Wal­lace depict the stu­dio as a sphere of con­ver­sa­tion, con­tem­pla­tion and pro­duc­tion. Brian Jun­gen will present a new sculp­tural work that takes on pugilism in recon­fig­ured punch­ing bags. Damian Mop­pett will show two pot­tery bear­ing, bio­mor­phic plas­ter sculp­tures and a sequence of his most recent drawings.

Ger­maine Koh’s series of objects were made dur­ing her recent res­i­dency in Switzer­land. Unit­ing traces of the local metal fac­tory and rugged topog­ra­phy of the Alpine region near Sierre, var­i­ous lengths of extruded alu­minum are fused with met­al­lized casts of indi­vid­ual cracks in the road pave­ment that resem­ble moun­tain ranges, milled cleanly on the sides like geo­log­i­cal sam­ples. In a buoy­ant instal­la­tion work by Jerry Pethick, geo­met­ri­cally grooved treads and pol­ished hub­caps meet bal­loon­ing glass-blown bub­bles. Meld­ing Spec­trafoil cutouts and black sil­i­cone shad­ows, this work also relates directly to Pethick’s gigan­tic TIME TOP, a bronze time/space vehi­cle that is cur­rently sub­merged, encrusted with two years worth of sea life, and due to be recov­ered with the May tides before being installed on the shore­line of False Creek. A new pho­to­graphic work by Chris­tos Dikeakos indexes the neigh­bour­hood of Main and Ter­mi­nal, accom­pa­nied by a broad­sheet that details var­i­ous his­to­ries of the area. Judy Radul will show sev­eral com­pan­ion works to her major 5-screen pro­jec­tion instal­la­tion, Downes Point. In an idyl­lic Hornby Island set­ting, the prin­ci­pal actor from Downes Point gives a speech that Gor­don Craig, the Eng­lish pro­ducer, scene designer, and actor, wrote as an imag­i­nary address to the Moscow Art The­atre cast of Ham­let, fol­low­ing Craig’s his­toric co-production of the play with Stanislavsky in 1909. Reveal­ing cer­tain nat­ural scenery in another Hornby loca­tion, Roy Kiy­ooka’s photo sequence, Hornby Island Bathers (1978) will be on view, together with a syn­ony­mous video work. Arni Har­alds­son will show a sin­gle new pho­to­graphic work that con­sid­ers archi­tec­tural his­tory and the con­tem­po­rary post-modern site. Jin-me Yoon inves­ti­gates the inter­sec­tions of body, cul­tural medi­a­tion and space in a new work pro­duced dur­ing her res­i­dency in Korea.

Through graphite draw­ings, pho­tographs and an archival project, Alex Mor­ri­son cri­tiques the bureau­cratic shep­herd­ing of a nos­tal­gic re-enactment of hip­pie cul­ture into cer­e­monies mark­ing the for­ti­eth anniver­sary of Vancouver’s once-radical Simon Fraser Uni­ver­sity, and takes SFU’s iconic sta­tus as a 1960s archi­tec­tural land­mark by Arthur Erick­son as stand-in for the insti­tu­tional con­quest of counter-cultural style. Amidst the sup­posed grand exor­cism that is ren­o­va­tion, Myfanwy MacLeod’s child-sized Ghost unset­tles any notion of space as inert or neu­tral. Trail­ing clouds of a decom­pos­ing domes­tic, MacLeod’s flo­ral, quilt-patterned cur­tain invests an exam­ple of kitsch ver­nac­u­lar with a dis­qui­et­ing capac­ity to con­ceal. In con­trast, Ron Ter­ada’s sign sculp­ture, You Have Left The Amer­i­can
Sec­tor, pro­vides a frank abne­ga­tion of U.S. domes­tic man­i­fest des­tiny. Two new Ter­ada pho­tographs prof­fer dead­pan dec­la­ra­tions to the ren­o­vated expanse. New Mod­els! Open Con­cept Plans!

In addi­tion, Catri­ona Jef­fries is very pleased to announce her rep­re­sen­ta­tion of Isabelle Pauwels, who will show her new video work, Eddie. Com­plet­ing her MFA at the School of the Art Insti­tute of Chicago, Pauwels is a promi­nent mem­ber of a younger gen­er­a­tion of Van­cou­ver artists com­ing to inter­na­tional atten­tion. In past works, Pauwels jolts var­i­ous social rela­tion­ships against the mea­sured for­mal struc­tures of images, per­for­mance, video and architecture.

For fur­ther infor­ma­tion or press enquires please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.