Ian Wallace: Masculin/Féminin

13 January – 18 February 2012

Ian Wallace, Enlarged Inkjet Study for Masculin Feminin I, 2010

Catriona Jeffries is pleased to announce the forthcoming solo exhibition by Ian Wallace. Focusing on the body of work titled Masculin/Féminin which began in the late 1990s, the works included in the exhibition encompass photography, inkjet prints, maquettes and large scale canvases.

Maintaining his long standing interest in the spectacularization of photography wit hin the framework of abstract painting, Masculin/Féminin explores this integration but with a marked difference. The photographic imagery selected by the artist has been appropriated from various European avant-garde films from the 1950s and 60s, such as Godard's Le Mepris, Antonioni's L'Avventura and Rossellini's Viaggio in Italia , amongst others. Each of these films share and express the anxieties, misapprehensions and ultimate emotional impasse reached between two lovers, and the painful consequences of ego and possession.

Although the origin of these works is cinematic, Wallace is not necessarily interested in the films as a narrative, time-based medium. As in earlier works such as An Attack on Literature (1975) and Colours of the Afternoon (1978-79) the sequential still image was privileged over the moving image to construct dramaturgy. Similarly, Masculin/Féminin engaged cinema as a site from which to appropriate still images through the artist's own process of photography. Shot directly off of the video screen, the resultant images often include the frame of the television itself as well as the image shudders and scan lines, amplifying their status as fragments. Once extracted from their original narrative function and reconstituted within Wallace's compositions, the images of the male and female leads are cropped and separated and thus given symbolic value within Wallace's own anti-expressionist system of representation. An emotive space between the appropriated images is writ intimate through a frieze of inkjet prints of scanned maquettes where the texture of the painted canvas is made explicit, and grand through Wallace's characteristic large-scale canvases.

Ian Wallace (b. 1945 Shoreham, UK) lives and works in Vancouver and has been exhibiting internationally since the 1970s and is widely regarded as an artist, writer and teacher. He has a forthcoming retrospective and accompanying catalogue at the Vancouver Art Gallery in October 2012. Recent solo exhibitions include Hauser and Wirth, Zurich (2011); The Economy of the Image, The Power Plant, Toronto (2010); Catriona Jeffries, Vancouver (2009); Witte de With, Rotterdam (2008); Kunstverein für die Rheinlande und Westfalen, Duesseldorf (2008); Kunsthalle Zurich (2008); Ian Wallace: In the Studio, Charles H. Scott Gallery, Vancouver (2005); Magazine Piece(s), 1970 , Belkin Satellite, Vancouver (2005). His work has been included in numerous international group exhibitions, such as Exhibition, Exhibition, Castello di Rivoli Museum of Contemporary Art, Turin (2010); Behind the Fourth Wall: Fictitious Lives – Lived Fiction, Generali Foundation, Vienna (2010); Enacting Abstraction, Vancouver Art Gallery (2009); Road Runners, VOX Contemporary Image, Montreal (2009); Les Peintres de la vie moderne , Museé national d'art moderne, Paris (2006); Intertidal: Vancouver Art and Artists, Museum Van Hedendaagse Kunst Antwerpen (MuHKA), Antwerp (2005). Recent and historical monographs include Ian Wallace: The Economy of the Image (2010); Ian Wallace: A Literature of Images (2008); Ian Wallace: In the Studio (2007); Ian Wallace: Masculin/Féminin (1999); Ian Wallace: Clayquot Protest (August 9, 1993) (1998); Ian Wallace: Corner of the Studio/ El Taller (1995); Ian Wallace: The Idea of The University (1990); Ian Wallace: Images (1989); Ian Wallace: Selected Works 1970 -1987 (1979).

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