Julia Feyrer: Alternatives and Opportunities

2 March – 14 April 2012

Julia Feyrer - Alternatives and Opportunities

Catri­ona Jef­fries is pleased to announce the first solo exhi­bi­tion by Julia Feyr­er at the gallery, pre­sent­ing works in 16mm film, sound, sculp­ture and daguerreo­type. Three dis­tinct bod­ies of work will be shown, includ­ing The Artist’s Stu­dio, Lit­tle pitch­ers have big ears and Dailies. These works con­sid­er the cam­era, the micro­phone, and the clock, respec­tive­ly, as appa­ra­tus­es or devices with which to mea­sure and struc­ture per­cep­tion. Feyrer’s recent works present these metaphor­i­cal objects in rela­tion to the human body as a recep­tor.

With­in The Artist’s Stu­dio (2012) Feyr­er has con­tin­ued her inter­est in the alchemic pro­duc­tion of daguerreo­types as a sci­en­tif­ic pro­ce­dure of image mak­ing and the site of the stu­dio as a stage in which art objects con­front their iso­la­tion and lone­li­ness as rar­efied arti­facts with­drawn from the world. Feyr­er began the work by stag­ing a sculp­tur­al tableau as a recre­ation of a daguerreo­type tak­en by Louis Daguerre in 1836 of an ‘artist’s stu­dio’, which was in fact not a doc­u­ment of a work­ing artist’s stu­dio, but rather was staged by Daguerre him­self. Feyrer’s tableau becomes inhab­it­ed and unhinged in a 16mm film and series of three sequenced daguerreo­types. The film’s unsyn­chro­nized voice-over text is a sub­tle inter­ven­tion on Leonar­do Da Vinci’s ‘Codex Urbinas’- a trea­tise on the mate­r­i­al dif­fer­ences of the clas­si­cal stu­dio of a painter and of a sculp­tor.

Con­sid­er­ing anal­o­gous states of embod­i­ment in both objects and expe­ri­ence, in Lit­tle pitch­ers have big ears (2012), the artist pro­duced a bin­au­r­al micro­phone, which records sound spa­tial­ly, in the same man­ner as our ears hear sound. The bin­au­r­al micro­phone takes the form of a human head, affixed with sil­i­cone ears. Inside the emp­ty cav­i­ty of the plas­ter head is a small pil­low filled with mug­wort, a herb that both encour­ages the mem­o­ry of dreams in those who sleep on it and pro­tects trav­el­ers on their jour­ney. This instru­ment was used by Feyr­er to make a bin­au­r­al record­ing as she moved through the phan­tas­magoric muse­um spaces of the Roy­al BC Muse­um in Vic­to­ria, BC. In this muse­um, which presents his­to­ry through a flood­ing of all the sens­es by means of its intri­cate­ly detailed and life-sized his­tor­i­cal dio­ra­mas, Feyrer’s instru­ment allowed for an embod­ied record­ing of this anachro­nis­tic prom­e­nade.

In her lat­est film, Dailies, the artist built an exten­sive series of clocks, first to be used as props in a 16mm film and then to behave as sculp­tures with­in the space of the exhi­bi­tion. Her inter­est in clocks is man­i­fold; each clock com­po­nent is con­sid­ered as part of a metaphor­i­cal phys­i­ol­o­gy, ie. the ‘hands’ and ‘face’ of the clock, as well as the clock’s ‘body’ which takes the form of a con­tain­er, or cap­sule. Pre­sent­ed as an unedit­ed series of film rolls, Dailies stages the pro­duc­tion of each clock with a vari­ety of tech­niques, doc­u­ment­ing a messy and wild­ly impro­vi­sa­tion­al approach. Every clock has a par­tial­ly obscured view, and is stuck at a par­tic­u­lar hour, with the sec­ond hand stalled yet still tick­ing. They are each ‘alive’ yet par­a­lyzed in their moment, per­form­ing a dura­tional yet non-pro­gres­sive trick pre­car­i­ous­ly and ner­vous­ly.

Julia Feyr­er (b. 1982, Vic­to­ria, BC) lives and works in Van­cou­ver. She grad­u­at­ed in 2010 with a Meis­ter­schü­lerin from the Städelschule in Frank­furt, Ger­many, fol­low­ing her under­grad­u­ate degree from the Emi­ly Carr Insti­tute of Art and Design in Van­cou­ver. She has a forth­com­ing exhi­bi­tion at Leon­har­di Kul­tur Pro­jek­te, Frank­furt and recent solo exhi­bi­tions include Irreg­u­lar Time Sig­na­tures, Johan Berggren Gallery, Malmö (2011) and The Poo­dle Dog Orna­men­tal Bar, Art­s­peak, Van­cou­ver (2010). Her work has been includ­ed in the fol­low­ing group exhi­bi­tions Children’s Films, Biele­felder Kun­stvere­in (2011); The Prob­lem of Noth­ing, Haya­ka ARTI, Istan­bul (2011); Geschmacksver­stärk­er, MMK Zol­lamt, Frank­furt (2010), Ghost Town, ‘Ghost Town’, MOTHER, Frank­furt (2010).

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