Tag: VAG

Reva Stone at ISEA2015

Winnipeg artist Reva Stone is interested in “examining ideas about the mediation between our bodies and the technologies that are altering how we interact with the world.” (photo by Harold Stone)

The International Symposium on Electronic Art comes to Vancouver Aug. 14-19. One of the artists featured in this “showcase of creative productions applying new technologies in art, interactivity, electronic and digital media” is Reva Stone.

It should come as no surprise, with Stone’s artwork comprising computer-assisted installations since 1992, that she has been invited to participate in ISEA once again. The first time Canada played host to the international symposium was in Montreal in 1995 and the Vancouver event marks only the second time that it has come to our country. In the last four years, it has been hosted in Istanbul, Albuquerque, Sydney and Dubai.

Stone, 70, was born to Sarah and Don Atnikov in Winnipeg and raised in Regina before returning to Winnipeg for university, earning a bachelor’s in sociology and psychology in 1966 and a bachelor of fine arts in 1985. She has been a professional electronic and digital media artist for more than 25 years.

“As far back as I can remember, I was always interested in making art, but it wasn’t seen as a practical decision when I was in university in the early 1960s,” said Stone. “By my early 30s, I was married [to Harold Stone] and a stay-at-home mom with two children. I was taking local art classes, but not finding them satisfying. I needed to learn more, experience more and experiment more.”

Stone returned to school to take fine arts. “I thought I was going to become a painter, but that didn’t last long,” she recalled. “I learned quickly that I love to take chances and am really comfortable trying things I have never done before.”

She graduated when she was in her 40s and was told that a woman her age could not have an art career. So, she said, “I did it anyways. Since that time, I have been creating computer-assisted installations that explore the mutable space between human and machine.”

Stone always begins new work with a concept that she has read about or an occurrence that she has observed, developing her ideas through research and experimentation. Each work comes to fruition, sometimes in collaboration with other artists and scientists, and other times with hired computer programmers. Stone has shown her work across Canada, the United States and Europe.

In addition to ISEA2015, Stone’s work is featured in the 2015 Governor General’s Awards Exhibition at the National Gallery of Canada, which runs to Aug. 30, and will be at Gurevich Fine Art in Winnipeg in September, as part of the exhibit A Celebration of Women’s Art.

The Winnipeg show includes the work of her studio partners, Aganetha Dyck and Diana Thorneycroft. “We have shared space for over 20 years and this is the first time we are showing together,” said Stone.

“My interest is in researching and examining ideas about the mediation between our bodies and the technologies that are altering how we interact with the world,” explained Stone. “I then use various forms of digital media to make artwork that comments on this changing nature of what it means to be human.”

Stone’s art has encompassed works such as “Imaginal Expression” (an endlessly mutating, responsive, 3-D environment), “Carnevale 3.0” (an autonomous robot that reflects on the nature of human consciousness) and “Portal” (which combines custom software, media, robotics and mobile phone technology to create a work that appears to be sentient).

“Recently, I began altering and repurposing obsolete devices that refer to the history of communication and technology,” said Stone. “I am altering them by adding small, embedded computer boards, video screens, lights, sensors, custom software, robotics and found video.

“I am choosing objects that possess an historical richness that merges with the alterations I am making to create a rich layering of ideas. As I continue to explore this series of work, I am finding that humor and a sense of play have become an increasingly important element.”

Over the years, Stone has received numerous research and production awards, including from the Canada Council for the Arts, the Major Arts Award from the Manitoba Arts Council and, of course, the Governor General’s Award in Visual and Media Arts this year.

She has also been internationally recognized. In 2002, for example, “Carnevale 3.0” received an honorable mention in Fundación Telefónica’s Vida 5.0 Art and Artificial Life International Competition. In 2009, Stone presented at Super Human – Revolution of the Species Symposium, organized by the Australian Network for Art and Technology in Melbourne. The proceedings were published in Second Nature: The International Journal of Creative Media.

The theme for ISEA2015 is “Disruption,” inviting “a conversation about the esthetics of change, renewal, efficiencies and game-changing paradigms.” Conference events will be held at the Woodward’s campus of Simon Fraser University, with exhibitions and events taking place at Emily Carr University of Art + Design and other venues throughout the city.

Vancouver Art Gallery’s Fuse event will be held in partnership with ISEA2015 on Aug. 15. In addition to music and live performance, the works of some 50 artists will be on display, including that of Stone. The event is open to the public starting at 8 p.m. (tickets are $20 plus tax). For more information, visit isea2015.org/schedule.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Darcy Mann is VAG featured artist

“Poplars” by Darcy Mann.

The Vancouver Art Gallery’s Art Rental and Sales space is not yet a well-known feature, but the nonprofit program has been quietly promoting emerging and mid-career Canadian artists on the gallery’s main floor. According to the website, “Whether you are you staging a home for sale, have an empty wall in your board room or love contemporary art but can’t decide what to purchase, you’ll find what you’re looking for in the Vancouver Art Gallery’s Art Rental and Sales Showroom. With more than 1,000 works by 200 Canadian artists, Art Rental and Sales has the largest selection of copyright-cleared, original art for rent in British Columbia…. All the artwork in the rental program is consigned by the artists, who receive the majority of the fees collected. The remaining proceeds are donated to the Vancouver Art Gallery.”

photo - Darcy Mann
Darcy Mann
(photo by Olga Livshin)

Darcy Mann is the next artist to have a feature exhibit in the space. Her charcoal drawings of British Columbia forests have been so successful with both the rental and sales part of the program that VAG offered to feature her work for three months.

Mann hasn’t always focused on forest drawings. She started her artistic life with figurative compositions. In an interview with the Independent, she talked about her life and the evolution of her themes.

“I always liked art. When I turned 10, I got a birthday gift from my mother – a pencil and some drawing paper. It was the best birthday gift of my childhood, the only one I remember,” she said.

After high school, she continued her art education in British Columbia and Nova Scotia, and later received an MFA in Texas. In 1987, in the course of her graduate studies, she had to spend a term abroad and she chose Israel, an experience that made a huge impression on the young artist. She and her husband, who is also a professional artist, then went to New York, where they lived for 14 years. “That’s where we really understood what art was,” she said. “But, of course, we couldn’t make a living as artists. We both had daytime jobs. I worked for an advertising agency. We kept practising our art and participated in several group shows. There is a wonderful place there for Jewish artists – Synagogue for the Arts.”

When their firstborn son was three, they returned to Vancouver, but Mann didn’t return to work. With the support of her husband and his family, she became a stay-at-home mom and a full-time artist. “Many artists experience financial challenges. We are willing to sacrifice material things, to live simply, for the sake of our art and our kids,” she said.

“I stopped painting and began drawing when my son was born – [I] didn’t want the chemicals in the paints to interfere with nursing the baby,” she said. “I also switched to forest scenes from figurative. You need to do much less talking when you paint forest. I don’t like talking and I don’t like discussing my art or explaining anything.”

Even when her son was older and she resumed painting with oils, she concentrated on the large forest landscapes. But she never gave up on drawing.

“Paintings and drawings are both satisfying in different ways,” she explained. “They complement each other. Painting is fluid. You can move paint around, remove some, add some, use different brushes, layers. A painting can change. It is chaos. While drawings stick to order, drawings are solid. When you use pressed charcoal, it’s there, on paper. You can’t erase it. But I need both. When I paint, I miss drawing. When I work on a drawing, I need to paint.”

Mann paints in her Marpole studio. “I paint and draw from photographs. I love going out with my camera during summer and fall, when it’s warm outside. Especially fall – it’s when I take the most interesting pictures. Not in winter though – too cold.”

After printing her photos, she starts the next phase of the process – assembling collages. Once she has the photographs, “… to get an image I want, I have to separate the background from the foreground” of each image. “I go through dozens of pictures. It’s like solving a puzzle, selecting which pieces fit where. I cut the pieces and glue or tape them together. I do it all by hand – I don’t trust computers. The whole thing is like taking a ball of mixed-up necklaces and untangling them, before creating a new image.”

Mann’s paintings and drawings are straightforward on the surface, but the underlying mystery shimmers in most of her compositions, a hint of a story, a token of a concept, as if the artist didn’t really abandon the figurative but just concealed it behind a bush or in the midst of this thicket.

“For me, esthetics is the most important,” she said. “The best of my works happen when I allow myself to lose conscious control, when my hand and my intuition take over. The idea is still there, but not controlled by me.” That’s why she often listens to audio books when she is at her easel. “With an audio book engaging my thoughts, it’s easier to let the intuition fly.”

Several years ago, she answered the VAG Art Rental and Sales call for artists and sent them some of her forest drawings, thus beginning a long association. Mann is the featured artist at the VAG Art Rental and Sales Showroom from Feb. 3 to May 2. Her artist talk, on March 4, 7 p.m., is free and open to the public.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].