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.