Ara­bella Campbell

25 March–30 April 2011

Arabella Campbell

Catri­ona Jef­fries Gallery is pleased to announce an exhi­bi­tion of new work by Ara­bella Camp­bell. Work­ing across paint­ing, sculp­ture and pho­tog­ra­phy, the work in the exhi­bi­tion is directed by Campbell’s per­sis­tent curios­ity in the mate­r­ial con­di­tions of abstrac­tion and the para­doxes cre­ated by the slight­est shifts in con­text and sur­round­ing details of time and place.

In this new body of work Camp­bell main­tains her inves­ti­ga­tion into the fun­da­men­tal pre­cepts of paint­ing and the phys­i­cal cir­cum­stances of the spaces in which art is con­ceived, pro­duced and dis­played. Loosely appro­pri­at­ing the geom­e­try pro­duced by Dan Flavin’s Unti­tled (Marfa Project) at the Chi­nati Foun­da­tion in Marfa, Texas, Camp­bell strat­i­fies the expe­ri­ence of light cre­ated by Flavin’s instal­la­tion into a series of paint­ings, installed as a sculp­tural arrange­ment of leaned can­vases. This spa­tial com­po­si­tion of ser­ial paint­ings is then lay­ered fur­ther through a grid of scans of the paint­ings them­selves, cre­at­ing another sys­tem whereby the schematic of the paint­ings can be exam­ined. This process of rep­e­ti­tion brings into motion an infin­ity of recur­sive pos­si­bil­ity, mov­ing through space to grasp a nar­ra­tive that can­not be com­pre­hended from one sta­tion­ary spot. The archi­tec­ture of the gallery is brought sharply into focus, becom­ing a mate­r­ial itself as the third ele­ment in a trip­tych of Campbell’s famil­iar stretched tar­pau­lin works.

Camp­bell exam­ines the geom­e­try of nature through a pho­to­graph of a large truck box parked in a remote, rain­for­est land­scape. The graphic com­po­si­tion of the metal­lic box itself is brought sharply into focus through the edges of the pho­to­graph and the dense back­drop of trees, indi­cat­ing again to her con­sid­ered curios­ity in mak­ing inter­ven­tions into exist­ing orders. The pho­to­graphic device of fram­ing appears in another image of a house float­ing on the Pacific. Guid­ing our atten­tion to a beau­ti­ful rec­ti­lin­ear win­dow in the house’s wood shin­gled exte­rior, the pho­to­graph cre­ates an aes­thetic punc­ture of the frame within the pic­to­r­ial, rem­i­nis­cent of Campbell’s pho­tographs of geo­met­ric fish­ing sym­bols found along the West Coast. Within the space of the gallery itself, Camp­bell enacts a lit­eral geo­met­ric punc­ture through the removal and dis­place­ment of a por­tion of her stu­dio wall into a gallery wall, while a pho­to­graph depict­ing the remain­ing void of the orig­i­nal wall pro­duces an appari­tion of the sculp­tural ges­ture within the gallery.

Ara­bella Camp­bell (1973) was born in Van­cou­ver where she cur­rently lives and works. She has had recent solo exhi­bi­tions at Art­s­peak, Van­cou­ver (2008) and Catri­ona Jef­fries (2007). Her work has been included in a num­ber of inter­na­tional group shows, includ­ing Sub­li­ma­tion, Oakville Gal­leries, Ontario (2011); Every­thing Every­day, Van­cou­ver Art Gallery (2010); Stow­aways: The Exhi­bi­tion For­merly Known as Pas­sen­gers, CCA Wat­tis, San Fran­cisco (2009); Enact­ing Abstrac­tion, Van­cou­ver Art Gallery (2009); THIS IS NOT A VOID, Gale­ria Luisa Strina, Sao Paulo (2008); Museum as Medium, Koldo Mitx­e­lena, San Sebas­t­ian; Vigo Museum of Con­tem­po­rary Art, Spain (2008); Every­thing Should Be As Sim­ple As Pos­si­ble But Not Sim­pler, The West­ern Front, Van­cou­ver (2008); FOR SALE, Cristina Guerra Con­tem­po­rary Art, Lis­bon (2007); Very Abstract and Hyper Fig­u­ra­tive, Thomas Dane Gallery, Lon­don, UK (2007); The Mono­chro­matic Field: Works From The Col­lec­tion, Mor­ris and Helen Belkin Gallery,Vancouver (2006); PAINT, Van­cou­ver Art Gallery (2006).

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