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.