ANTHONY SAUVÉ (MFA '16) THESIS EXHIBITION

Anthony Sauvé   De route et de rivière Exposition: du 5 au 13 août,  2016 Vernissage: le vendredi 5 août- 7h00 DAÏMÔN   Anthony Sauvé   The Road and the River Exhibition: August 5-13,  2016 Reception: Friday August 5 - 7pm DAÏMÔN  

Anthony Sauvé  
De route et de rivière
Exposition: du 5 au 13 août,  2016
Vernissage: le vendredi 5 août- 7h00
DAÏMÔN  

Anthony Sauvé  
The Road and the River
Exhibition: August 5-13,  2016
Reception: Friday August 5 - 7pm
DAÏMÔN  

À la dérive sur la rivière et sur la route, sur des radeaux gonflés d’air, à pied ou sur le pouce, en zigzagant d’une rive à l’autre en traversiers, je suis les courants de la Rivière des Outaouais jusqu’à Montréal. En partant de Hull en bateaux pneumatiques à l’embouchure du Ruisseau de la Brasserie, je me laisse porter par la rivière jusqu’à ce qu’elle me dépose une quarantaine de kilomètres plus loin. Je continue à longer la rivière en marchant et en embarquant sur tous les traversiers qui croisent mon chemin. Je trace une ligne irrégulière dans l’espace, je suis guidé par les courants et les routes qui suivent la Rivière des Outaouais, le Lac des Deux-Montagnes et le Lac Saint-Louis; je retourne dans ma ville natale en me déroutant, en revenant sur mes pas, en allongeant mon trajet. Je marche vite. Je me déplace comme je suis: en empruntant le parcours le plus long, parsemé de contradictions, de naufrages, de bifurcations, de changements d’idées et de directions. Mes mouvements sont décousus et impulsifs, mais je poursuis de l’avant en explorant tous les détours. Un carnet de voyage, une lourde expédition dérouté en vagabondage insouciant au fil de l’eau, en passant par la tente et l’auberge au bord de la route, par la proue et la roue, avec le cours de la rivière et en sens inverse du trafic; j’avance en formant un tracé incertain, influencé par les éléments naturels, les obstacles et les constructions, au gré du jour, dessiné par mes humeurs et mon tempérament.

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Drifting on the river and on the road, on rafts filled with air, on foot or hitchhiking, zigzagging from one shore to the other on ferries, I follow the currents of the Ottawa River to Montreal. Leaving from Hull on inflatable boats at the mouth of Brewery Creek, I let the river carry me until it leaves me about forty kilometres further. I continue to follow the river by walking and boarding all the ferries that cross my path. I’m tracing an irregular line in space, I’m guided by currents and roads following the Ottawa River, the Lake of Two-Mountains and Lake Saint-Louis; I’m heading back to the town of my birth, I am sidetracked, I retrace my steps, I stretch my trajectory. I walk fast. I move such as I am: by taking the longest road, scattered with contradictions, wrecks, bifurcations, changes of mind and directions. My movements are erratic and impulsive, still I go forth exploring all detours. A travel journal, a heavy expedition sidetracked into a carefree wandering along the waterside, passing through in a tent and the roadside inn, on waves and on wheels, with the course of the river and against traffic; I proceed as I shape an uncertain trace, influenced by the natural elements, obstacles and constructions, by the will of the day, drawn by my moods and my temperament.

ELLE CHAE & HEIDI CONROD (MFA '16) THESIS EXHIBITIONS

Elle Chae

Elle Chae

Heidi Conrod

Heidi Conrod

I consider the practice of painting to be neurotic, obsessive and seductive.  It keeps me permanently searching, and so it is also addictive in its elusiveness. The physical engagement with paint, its rich history, and the constant risk of failure are what keep me coming back.
In me, the urge to paint begins with a strong compulsion to internalize and organize what I see, and then communicate this seeing.  It is a way to order the phantasmagoria of life and the randomness of being, and stimulates a form of magical thinking.
The meditative and slow act of painting provides me with a means to mirror forms of mental activity, to express desires, anxieties, intentions, and everything else that is inexpressible or ineffable.
This exhibition includes a group of new paintings that explores the depiction of mental states through the cautious release and withholding of visual, conceptual, and autobiographical cues. Reflecting on the nature of memory and time and the fluid ways in which these seemingly immaterial phenomena interact, the works represent multiple visions within one viewing experience; commenting not only on the surface of things, but also on what may lie hidden beneath. The works are best understood through introspection rather than a forced rationale.  

Elle Chae and Heidi Conrod
Painter, Painter  
Exhibition: August 4 to 28, 2016
Vernissage: Thursday, August 25, 5:30 to 7:30 p.m.
Karsh-Masson Gallery
 

GILLIAN KING (MFA '16) THESIS EXHIBITION

Pink Lake Mica III (detail) Cold Wax Medium, Oil, and Raw Pigments on Canvas, 8x5 feet, 2016
Pink Lake Mica III (detail) Cold Wax Medium, Oil, and Raw Pigments on Canvas, 8x5 feet, 2016

Gillian King
Becoming Animal
Exhibition: August 19th - September 15th, 2016
Vernissage: Thursday August 18th-  6pm
Ottawa Art Gallery

In Becoming Animal, Gillian King explores our relationships as human animals towards non-human animals and the natural world through abstract painting. Human animals have changed the natural landscape to a point where we have entered into a new epoch - the Anthropocene. Unlike other epochs, the Anthropocene began by our actions and influence on the natural environment. The resulting fallout from our ability to change the landscape of the world has affected how we interact other living beings. To address these environmental issues visually, King uses her hands and nails to move and throw beeswax, charcoal, and natural and artificial raw pigments onto human-scale canvases. The traces left by her body are reminiscent of non-human animals clawing or digging and act as a kind of symbolic mapping of a relatable body. She invites viewers to consider their own physical engagement with our landscape and other animals through the haptic or sense of touch. From afar her gestural marks give a photographic illusion. Up close the viewer is able to experience their physical relief that is akin to a topographic terrain. King sees this opposition between what is perceived and what is the case is important to her practice because exploring the actions between human animal and non-human animal bodies means to question how we look at, and act, within the natural world. Becoming Animal is King’s University of Ottawa Masters of Fine Arts thesis exhibition. 

JUSTINE SKAHAN (MFA '16) THESIS EXHIBTION

Justine Skahan
An Ordered Absence
Exhibition: August 12th to 27th, 2016
Opening reception: Friday, August 12, 2016, 7-10PM

My painting practice consists of a range of reoccurring subjects, most importantly architecture, landscape, domestic animals, and visual representations of gender. My interest in these emerges from a desire to question their construction: their physical making as well as the way we project our own conceptions onto them with varying degrees of accuracy.
My choices of subject matter are motivated by something felt rather than explicitly stated, and my methods for gathering source material is as varied as the content. I use personal photographs, film stills, online news stories, internet image searches, magazine and newspaper content, and imagined abstract spaces as raw materials for the work. Pop culture and the suburban landscape are both rich areas of source material for me. They are inescapable, and provide an abundance of the qualities I am drawn to in my everyday visual field: humour, foreboding and the absurd.
One of the primary driving forces behind my work is the act of painting itself. It is a physical and mental process that allows me to deconstruct the subject matter that I am addressing. Constructing an image also allows me to think through what exists below the surface of things or question what has caused dissonant natural or manufactured elements to be joined together.
The individual works are organized so as to form multiple relationships that extend the process of construction. The installation also serves to amplify the content of individual works. In these ways, the relationships formed find parallels in the structures of language and location of meaning.

JUSTINE SKAHAN (MFA`16) Finalist in the 2016 RBC Painting Competition

Justine Skahan, Home, 2016. Oil on canvas stretched over wood, 52 x 48 in.

Justine Skahan, Home, 2016. Oil on canvas stretched over wood, 52 x 48 in.

The University of Ottawa congratulates second year MFA candidate Justine Skahan on her nomination in this year's RBC painting competition!
From Canadian Art:
Phenomena from pop culture to urban planning inform the paintings of Montreal-born artist Justine Skahan. Some of her recent works, she told the Fulcrum, are based in places where “natural elements and architecture co-exist, mostly in suburban landscapes.” Other recent imagery, however, focuses on the Olsen twins, Ingrid Bergman’s hair, and Miami palm trees. Skahan obtained her BFA in studio arts from Concordia University in 2010, and she is currently an MFA candidate at the University of Ottawa. Her work has been exhibited at Lonsdale Gallery in Toronto, and Karsh-Masson Gallery in Ottawa, while her master’s thesis exhibition will take place at Central Art Garage in Ottawa in August 2016.

MFA Graduate DAVID KAARSEMAKER solo show Scrim at Karsh-Masson

David Kaarsemaker, View 2, Oil, wax, and spray-paint on canvas. 48" x 64". 2016

David Kaarsemaker, View 2, Oil, wax, and spray-paint on canvas. 48" x 64". 2016

MFA Graduate David Kaarsemaker solo show at Karsh Masson Gallery, 110 Laurier Ave West, inside Ottawa City Hall

From the Karsh Masson Catalogue, essay by Carol Wainio:
Kaarsemaker explores the alienating aspects of public space, urban redevelopment, and museum discourse, a mise en abyme of representation within representation...  The spaces, now tipped up, take on a theatrical quality, though, again, the living agents of social discourse are missing. Instead we may see the vacant rooms and empty chairs of a conference on contemporary art. The paintings leave us unsure as to whether we are inside this world or out, like the animals in glass cases isolated from the reflections of nature found on the ubiquitous glass panels of public buildings. These are displays which resist display, which obscure and make manifest layers of construction and mediation, reflecting back to us both the outside physical world and the inner world the viewers or audiences bring with them.

The exhibition runs from June 16-July 24th with an artist talk on June 26th

FULL CATASTROPHE: Chae, Conrod, Göllner, King, Sauvé, Skahan & Thibault at Karsh-Masson Gallery

Elle Chae, Heidi Conrod, Adrian Göllner, 
Gillian King, Anthony Sauvé, Justine Skahan
& Annie Thibault

FULL CATASTROPHE

March 17 to April 24, 2016

Vernissage
Thursday, March 17, 5:30 to 7:30 p.m.

Artist talk with Adrian Göllner and Annie Thibault
Friday, April 1st at 12:30 p.m.
Adrian Göllner will present in English and Annie Thibault will present in French.
All welcome. Free admission. 

KARSH-MASSON GALLERY
Ottawa City Hall
110 Laurier Avenue West

The phrase ‘full catastrophe’ derives from the 1964 film Zorba the Greek, whose central character exclaims: “Wife, children, house, everything. The full catastrophe.” Rather than inferring a catastrophic event however, in which the present is overwhelmingly engulfed, it is intended to denote a vastness of human experience. In this exhibition then, the concept of the ‘full catastrophe’ evolves from an expansive, panoramic perspective that embraces the totality of life while becoming crowded with its rich and immense detail. 

-Excerpt from the essay by Celina Jeffery

http://ottawa.ca/en/liveculture/full-catastrophe
www.twitter.com/PublicArtOttawa 

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Elle Chae, Heidi Conrod, Adrian Göllner, 
Gillian King, Anthony Sauvé, Justine Skahan
& Annie Thibault

FULL CATASTROPHE (Pleine Catastrophe)

Du 17 mars au 24 avril 2016

Vernissage
le jeudi 17 mars de 17 h 30 à 19 h 30

Causerie avec les artistes Adrian Göllner et Annie Thibault
le vendredi 1er avril à 12 h 30
Adrian Göllner fera la présentation en anglais et Annie Thibault celle en français.
Ouverte à tous. Entrée libre. 

GALERIE KARSH-MASSON
Hôtel de ville d’Ottawa
110, avenue Laurier Ouest

Le titre de cette exposition est un hommage au film Zorba le Grec, sorti en 1964, dans lequel le personnage principal s’exclame : « Ma femme, les enfants, la maison et tout. La pleine catastrophe. » [traduction libre]. Or, le mot catastrophe ne désigne pas ici un événement tragique, bien que Zorba en vive tout un, mais plutôt l’immensité de l’expérience humaine. Ainsi, dans cette exposition, le concept de la « pleine catastrophe » découle d’un point de vue global qui considère la vie dans son vaste ensemble tout en étant saturé de ses détails riches et abondants.

-Extrait du texte par Celina Jeffery

http://ottawa.ca/fr/culturevive/pleine-catastrophe
www.twitter.com/PublicArtOttawa

MFA Dialogues Speaker Series at the Ottawa Art Gallery

CAUSERIES 2016 DIALOGUES ENTRE ÉTUDIANTS À LA M.A.V.

La Galerie d’art d’Ottawa et le Départment d’arts visuels de l’Université d’Ottawa présentent une série de causeries pendant la session hivernal 2016.

Tous les mercredis du 24 février au 30 mars, deux etudiants présentement à la maitrise en arts visuels présenteront leur recherche sous le format d'une conversation à la GAO.

Tous les événements sont ouvert au public et gratuit. Sauf indication contraire, les causeries seront en anglais.

Calendrier :

Le mercredi 24 Février
Présentateurs :  Jonathan Cyr and Justine Skahan

Le mercredi 2 mars

Présentateurs :  Michael Ashley et Adrian Gollner

Le mercredi 9 mars
Présentateurs : Kyle Bustin et Gillian King

Le mercredi 16 mars

Présentateurs : Elle Chae, Heidi Conrod, Kizi Speilmann Rose

Le mercredi 23 mars
Présentateurs : Sarah Fuller et Anthony Sauvé

Le mercredi 30 mars
Présentateurs : Annie Thibault et Lindsay Wilson (présentation bilingue)

The Ottawa Art Gallery and the University of Ottawa Department of Visual Arts present a series of noontime talks during the 2016 winter semester. 

Teams of two currently enrolled Master of Fine Arts candidates from the Department of Visual Arts will present and discuss their research in a dialogue format at the OAG. 

Talks are free and open to the public. Everyone is welcome to attend. 

Series Schedule:

Wednesday, February 24: Forest From the Trees
Presenters:  Jonathan Cyr and Justine Skahan

Wednesday, March 2: Of Guns and Beetles
Presenters:  Michael Ashley and Adrian Gollner

Wednesday, March 9: Impulse Control
Presenters : Kyle Bustin and Gillian King

Wednesday, March 16: "Meaning....what?" A conversation about process, expression and intention in abstract painting.
Presenters: Elle Chae, Heidi Conrod, Kizi Speilmann Rose

Wednesday, March 23: Outdoor Research
Presenters: Sarah Fuller and Anthony Sauvé

Wednesday, March 30: Fruitful Bodies
Presenters: Annie Thibault and Linsday Wilson (Bilingual French/English presentation)

For more information: http://ottawaartgallery.ca/content/2016-mfa-dialogues-speaker-series

MFA Alumni Stanzie Tooth Profiled in NOW Toronto Magazine

Earth & Air (we were formed by the same place) by Stanzie Tooth

Earth & Air (we were formed by the same place) by Stanzie Tooth

"Canadian landscape painting, which has languished a little too reverently in the shadow of the Group of Seven, has seen some changes in the past decade. After the raw, thickly impastoed canvases of Kim Dorland gave the genre a needed kick, a new school seems to be emerging.

Inhabited, Stanzie Tooth's stunning new show, is part of this wave. Tooth, a protege of Dorland's and currently an MFA student at the University of Ottawa, is developing a vigorous, distinctive voice..." Read More

Venise : trésors d’hier et d’aujourd’hui/An Art Lover’s Paradise

Vue du dépanneur, une partie de Canadassimo, l’installation de BGL au pavillon du Canada à la Biennale de Venise 2015. Photo : Justine Skahan.

Vue du dépanneur, une partie de Canadassimo, l’installation de BGL au pavillon du Canada à la Biennale de Venise 2015. Photo : Justine Skahan.

Venise : trésors d’hier et d’aujourd’hui
Par Johanne Adam
Au printemps dernier, Justine Skahan, étudiante à la maîtrise en arts visuels, a passé un mois en Italie à se régaler d’œuvres d’art. Grâce à la bourse Stonecroft, dont elle est la première bénéficiaire, elle a travaillé au pavillon du Canada à la Biennale de Venise et elle a suivi un cours d’art à Venise offert par le Département d’arts visuels. 
En effet, le Département d’arts visuels de l’Université d’Ottawa a reçu un don important de la Fondation Stonecroft pour les arts, destiné à appuyer le Programme de maîtrise en arts visuels. Ces fonds permettront, d’une part, de créer une bourse pour envoyer un étudiant (inscrit à la maîtrise en arts visuels) à la Biennale; et d’autre part, de financer une série annuelle de conférences d’artistes, en collaboration avec le Musée des beaux-arts du Canada... En Savoir Plus
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An Art Lover’s Paradise
By Johanne Adam
Last spring, Master of Fine Arts student Justine Skahan spent a month in Italy taking in the very best of art. Thanks to a Stonecroft scholarship, of which she is the first uOttawa recipient, she worked at the Canada Pavilion of the Venice Biennale international art exhibition, and took an art course in Venice given by the Department of Visual Arts.
Indeed, the Department of Visual Arts at the University of Ottawa has received a major donation from the Stonecroft Foundation for the Arts in support of the Master of Fine Arts (MFA) program. This donation will finance a scholarship to send an MFA student to the Biennale and will also fund an annual artist lecture series in partnership with the National Gallery of Canada... Read More

JESSICA BELL (MAV/MFA '15) Solo Exhibition at Central Art Garage

Jessica Bell, P.S., Installation View, Central Art Garage, Image Credit: Chris Snow

Jessica Bell, P.S., Installation View, Central Art Garage, Image Credit: Chris Snow

MFA Graduate Jessica Bell exhibits new body of work in show P.S. at Central Art Garage in Ottawa. The exhibition runs from Oct 28th - Dec 4th, 2015. 

From Canadian Art online: 
In the works of Jessica Bell, what you see is what you get, and what you don’t see is what you get as well.

This is the way Bell constructs her work: each of her objects—indebted heavily to the language of painting and its intersection with the nature of fibre—are made to become more than she (and we) initially imagine them to be. Front becomes back; long becomes short; empty becomes full. This quality of flexibility carries with it an air of the cryptic: in fashioning the work to accommodate change, Bell asks us to entertain the possibility of an artwork that saves secrets for the future.

P.S., Jessica Bell’s first exhibition with Central Art Garage, runs concurrently with two exhibitions of her work in Vancouver: Should we stop here?, a solo show at Initial Gallery and the Contemporary Art Gallery’s exhibition of paintings nominated for the 2015 RBC Canadian Painting Competition, a prize for which she was previously nominated in 2013.

NEAR FAR & SOMEWHERE IN BETWEEN: Lonsdale Gallery avec/with JULIA MARTIN (MAV/MFA '15)

Julia Martin, (left to right) Your Wings Will Never Be Still, A Means by Which to Measure the Passing of Time, Photographs, 24x32, inkjet prints, 2015

Julia Martin, (left to right) Your Wings Will Never Be StillA Means by Which to Measure the Passing of Time, Photographs, 24x32, inkjet prints, 2015

MFA Graduate Julia Martin exhibits new series of photographs at group exhibition at Lonsdale Gallery in Toronto, curated by MFA Graduate Stanzie Tooth, including BFA Graduates Annie Taylor and Laura Demers. The exhibition Near, Far & Somewhere In-Between runs from October 17th - November 22nd, 2015.

From the curatorial statement: Our relationship to the land is complex.  In an age of ecological upheaval, a new generation of artists is looking to the land as a metaphor for the human condition, ranging from the everyday to the surreal. Near, Far & Somewhere In-Between brings together three such artists: Laura Demers, Julia Martin and Annie Taylor who each take on the theme of the landscape as a means of self-expression and discovery. In examining their relationships to nature, these artists reveal new ideas of coexistence with the land. In their totality, these works speak to an intimacy with nature, tinged with cautionary messages of (self) preservation.

Julia Martin’s photographs show close-up images of natural elements such as foliage, grasses, plants and animals.  These works borrow the filmic language of the establishing shot, the atmosphere in each piece speaking to a space imbued with emotion.  For Martin, these are interior landscapes, her own sense of self reflected in found elements. The plant life she captures allude to ideas of mortality and the cycles of life – they grow and decay, they are affected by outside forces beyond their control, they are fragile and beautiful in their resilience. Light plays a critical role in these works. Often shot at night or in overcast conditions, lighting tempers the mood of each scene.  For this series, the artist uses a cellphone camera and low-fi techniques to achieve a diaristic tone.  In some works the degradation of the image is enhanced, exposed, to speak to ideas of memory and nostalgia.  Martin’s photo diary of the land speaks to the artist’s transience and her continued search for a connection to place.

JESSICA BELL (MAV/MFA '15) Solo Exhibition Should We Stop Here

Jessica Bell, Should We Stop Here?, Installation View

Jessica Bell, Should We Stop Here?, Installation View

MFA Graduate Jessica Bell exhibits new works in exhibition Should We Stop Here? at Initial Gallery in Vancouver, BC. 

From Canadian Art Online: 
Jessica Bell’s most recent work presents the very idea of constructing a painting as a way of making sense of the world. Using simple materials and formal devices like folding or inflating she subtly makes allusions to ordinary events and experiences. Her works frequently bear the marks of incidental studio occurrences, which conjure a conversation between the will of objects and the artist’s intention to activate them. Canvas and stretchers appear like characters, assuming the posture of active participants instead of subservient structure. Her pieces engage with and resonate in one another, emphasizing the temporal relationships she conjures within physical spaces. Jessica Bell’s forms are deliberately abstract and minimal, drawing our attention to subtle differences in the surfaces of material, gentle play with volume and light, and the quiet passage of time.

Originally from Montreal, Jessica Bell holds a BA Art History (with distinction) from the University of Calgary and an MFA from the University of Ottawa’s Department of Visual Arts. She has exhibited at the Milwaukee Institute of Art & Design (Milwaukee, WI), Richmond Art Gallery (Richmond, BC), Idea Exchange (Cambridge, ON), Ottawa’s Karsh-Masson Gallery, and the National Gallery of Canada where she was a finalist in the 2013 RBC Canadian Painting Competition, a prize she is nominated for again in 2015. Should we stop here? is a playful adaptation and extension of Jessica Bell’s graduate thesis work recently exhibited at the Ottawa Art Gallery’s historic Firestone Gallery.

JINNY YU: Don't They Ever Stop Migrating?

Jinny Yu, Don’t They Ever Stop Migrating? (2015). Detail of maquette, ink on paper, 18.4 x 26 x 18.4 cm. Courtesy of the artist and Art Mûr gallery.

Jinny Yu, Don’t They Ever Stop Migrating? (2015). Detail of maquette, ink on paper, 18.4 x 26 x 18.4 cm. Courtesy of the artist and Art Mûr gallery.

JINNY YU: Don't They Ever Stop Migrating?

Jinny Yu
Don't They Ever Stop Migrating?

September 5 – November 22, 2015

Opening: Friday, September 4, 6pm
Artist talk: Saturday, September 5, 7pm

Nuova Icona
Oratorio di San Ludovico
Dorsoduro 2552
Venice
Italy

Jinny Yu's site-specific installation at the Oratorio di San Ludovico in Venice, presented during the 56th Venice Biennale, comprises of a large three-dimensional painting with sound. Reflecting on the recent migration crises in the Mediterranean Sea and Bay of Bengal, Yu's new work Don't They Ever Stop Migrating? explores one's position within an increasingly globalized world. Using Hitchcock's The Birds (1963) as metaphor, the exhibitionexplores a range of emotional responses and attitudes towards mass migration. 

Venice serves both as the container for the space of Oratorio di San Ludovico and as a conceptual ground for Yu's work. Don't They Ever Stop Migrating? exposes the city's history as a powerful maritime republic: a place of mixing cultures, a point of departure and arrival for manifold people and goods and, more recently, a destination for mass tourism—and with it, its inherent problems. The religious context of the exhibition space emphasizes the ethereal aspect of the work, combining the solemnity of the venue with the artwork's repetitive qualities. 

The surface of Yu's painting is broken up with hundreds of thousands of black ink brushstrokes that resemble a foreign mass, circling at a distance. The abstract marks cover the structure in a vortex, alluding to the threat of them swooping down, perpetuating the sense of unease. Amongst the accompanying chorus of incoherent English words and abstracted voices emerge phrases such as "You don't think there's something going around, do you?" and "They're frightening the children." The words are remixed, layered and repeated in a rhythmic yet unpredictable sequence of utterances interrupted by eerily segmented silences suggestive of a climax: the invasion by a foreign species. As our eyes and ears attempt to complete a narrative, the painting postulates on terms of migration while poignantly revealing the emotional and instinctual, or perhaps learned and inherited,responses towards the phenomenon of mass migration. This immersive environment questions individual prejudices and core beliefs about who constitutes "the other." The abstracted marks and collaged sounds in Don't They Ever Stop Migrating? act to describe a common response of animosity and suspicion towards migration, pointing to the social and political crux of this painting.

Born in the Republic of Korea and working in Canada and Italy, Jinny Yu's work has been shown widely, including in New York, London, Seoul, Düsseldorf, Miami, Kyoto, Montreal, Toronto, and Vancouver. She is an Associate Professor of Painting at the University of Ottawa and the recipient of numerous grants and awards. She is represented by Art Mûr gallery in Montreal. 

This exhibition is produced by Nuova Icona and supported by Ottawa Art Gallery and Art Mûr gallery.

For media inquiries, please contact info@jinnyyu.com.

nuovaicona.org
artmur.com/jinny-yu