If I was an architect If you take this fish tank and you imagine your mother when you were seven, peeling potatoes in that space or what you saw that fits into that space. Or the village in the creek bank you worked on at your grand-father’s, either telescoped or shrunk to get the correct spatial view that was believed to have been your own vision and perspective. Your delirious dream of magnetic needles that are endlessly flowing in a looping motion, falling end over end from top to bottom of an Eiffel like tower, repetitious and monotonous, until you frantically try to alter the structure to impede the rhythm…
And I am
I would live in an ant-hill
On a flat black desert
In gold lame tyres
If I was an artist
And I am
I would concern myself
I would make
Nothing but the buzzing of wings
And the spilling of air>
Jerry Pethick, Le Dot/Transition in Progress, 1986:
If you take this fish tank and you imagine your mother when you were seven, peeling potatoes in that space or what you saw that fits into that space. Or the village in the creek bank you worked on at your grand-father’s, either telescoped or shrunk to get the correct spatial view that was believed to have been your own vision and perspective. Your delirious dream of magnetic needles that are endlessly flowing in a looping motion, falling end over end from top to bottom of an Eiffel like tower, repetitious and monotonous, until you frantically try to alter the structure to impede the rhythm…
Liz Magor (b. 1948, Canada) lives and works in Vancouver, Canada. Practicing for over 40 years, Magor was recently awarded the Gershon Iskowitz Prize (2015) and has forthcoming exhibitions later this year at the Art Gallery of Ontario, Toronto as well as Peep Hole, Milan. Also upcoming are exhibition projects at the Glasgow Sculpture Studio as well as a career retrospective at the musee d’art contemporain, Montreal in 2016. She has had numerous solo exhibitions including No Fear No Shame No Confusion, Triangle, France (2013); I is being This, Catriona Jeffries, Vancouver (2012); The Mouth and other storage facilities, Henry Art Gallery, Seattle; Simon Fraser University Gallery, Vancouver (2008); The Power Plant (2003); Deep Woods, Art Gallery of York University, Toronto (2000); stores, Contemporary Art Gallery, Vancouver (2000); Art Gallery of Ontario, Toronto (1986); Production/Reproduction, Vancouver Art Gallery (1980); The Art Gallery of Greater Victoria, BC (1977). A selection of group exhibitions include 2013 California-Pacific Triennial, Orange County Museum of Art; Zoo, Musée d’art contemporain de Montreal (2012); Baja to Vancouver, Seattle Art Museum, Seattle; Wattis Institute, San Francisco; Vancouver Art Gallery; Museum of Contemporary Art, San Diego (2003); Elusive Paradise, National Gallery of Canada, Ottawa (2001); Notion of Conflict: A Selection of Contemporary Canadian Art, Stedelijk Museum, Amsterdam (1995); More than one Photography, Museum of Modern Art, New York (1992); Places with a Past: Site Specific Art in Charleston, Spoleto Festival, Charleston, South Carolina (1991); Meeting Place: Robert Gober, Liz Magor, Juan Muñoz, Nickle Arts Museum, Calgary; Vancouver Art Gallery (1990); Camera Lucida, Walter Phillips Gallery, Banff (1989). Magor exhibited at documenta 8, Kassel, Germany (1987); and represented Canada at the Venice Biennale (1984). Numerous monographs have been published on her work from the late 1970s to the present.
Jerry Pethick (b. 1935, London, Ontario) studied at the Chelsea Polytechnic from 1957-60 and at the Royal College of Art 1961-64. In 1968 he moved to the United States to study Holography. He then returned Canada in 1975 to live and work on Hornby Island, British Columbia until his death in 2003. Pethick has a forthcoming major solo exhibition at the Vancouver Art Gallery opening October 2015. Pethick has had many solo and group exhibitions including Bigger than a book, wilder than a tree: Christina Mackie and Jerry Pethick, Catriona Jeffries, Vancouver (2012); Typology of Space, Contemporary Art Gallery, Vancouver (2004); The Further World, Canadian Embassy, Tokyo (1997); Notions of Nothing, Stadtgalerie, Saarbruken, Germany (1994); Photo Sculpture, Presentation House Gallery, Vancouver (1994); Still Veils, The Power Plant, Toronto (1992); La Dot/Transition in Progress, 49th Parallel Centre for Contemporary Canadian Art, New York (1986); Traces of Discovery, Vancouver Art Gallery (1984); Lighthouse, Fine Arts Gallery, University of British Columbia, Vancouver (1973). Numerous publications exist on his work and a forthcoming monograph will be published concurrent to his upcoming exhibition at the Vancouver Art Gallery.
Ron Tran (b. 1972, Saigon, VN) lives and works out of a suitcase. He was awarded for the Kunstlerhaus Bethanien residency in Berlin 2013-2014. He studied at Emily Carr Institute of Art and Design in 2004. Tran has a forthcoming solo exhibition at Confederation Centre for the Arts, Charlottetown 2015 and a research residency at Malaspina Print Makers, Vancouver 2015. Recent solo exhibitions include The Kitchen Garden at Home/Store, 221A, Vancouver (2015); We’ll Keep Adding to The List (Come Done and Gone), Kunstlerhaus Bethanien, Berlin (2014); A Way to go, Contemporary Art Gallery, Vancouver (2011); It Knows Not What It Is, Charles H. Scott Gallery, Vancouver (2011); His work has been included in a number of national and international group shows, including The Poetics of Space, Vancouver Art Gallery, Vancouver (2015); Soleil Politique, Museion, Bozen/Bolzano (2014); Phantasmagoria, Presentation House Gallery, Vancouver (2013); What is waiting out there, 6th Berlin Biennale, Berlin (2010). His work has been featured in Avant-Gardes of The 21st Century published by Phaidon Press.