Les candidats MAV | MFA Candidates
La deuxieme année | Second Year
Performance, film still, 2017
My work comments on gender, labour, and object value by selectively pairing materials and surfaces in juxtaposition to one another. These pairings are created through a system of binary opposites factoring hegemonic gender roles and class-based labour in distinct symbols of masculinity, femininity, and socio-economic status. Consumer culture influences me to produce disruptive elements blurring the lines of high and low art. The objects I make consider monetary and social worth within products, surfaces, and institutions.
I implement graphic design techniques and associated aesthetics to interrogate concepts of artistic authenticity. In my art practice I employ repetitive tasks associated with factory labour. These tasks are monotonous and limited to circular or linear movements such as: polishing, industrial painting, and printing. My chosen materials function as symbols of kitsch domesticity and include: lipstick, shoe polish, cell phones, sporting equipment, glitter, and needlepoint. Isolating a labourous task found within manual labour, my method includes, mimicking the gesture and transcribing its mark to a surface until a collection of marks flood the surface, or a group of objects are created. This process-based work engages physical and psychological endurance, the limits of which are determined by overwhelming the surface or through my own physical exhaustion.
I am interested in the visual aesthetics of Robert Morris and the American Minimalist movement in the 1960s. The emphasis placed on space, shape, and materiality guide me towards finished products. Performance and process artists including Janine Antoni, Marina Abramovic, and Yoko Ono who place a large importance on the symbolic meaning of material and societal understanding within objects inform my work.
oil on canvas, 2017
My work is anchored in narrative. By gleaning from and combining memory, dream and story I create scenes that suggest multiple plotlines and interpretations. Often centering on a female figure, the subjects for my series evolve in a continuing exploration of psychology of self by aggregating in various arrangements childhood experiences, nostalgia, psychological states, ancestry, sex, gender and identity. The work can be derived from very personal and intimate experiences, but presented as it is for public consideration, it becomes fiction on which the viewer can project and take away from.
I am compelled to produce work that resides in the push and pull area between empowerment and subjugation; slipping, falling, kicking, hitting and flailing into each side. I feel that these narratives surrounding the conditions of girlhood and womanhood are stories that relate to all of us and are, in fact, stories of humanity.
I make visual art to tell direct and indirect stories at one time. I believe that images are carried in the conscious and unconscious mind as witness to an experience of life. It is in this way that I hope to communicate in an honest, human and visceral way.
John Ancheta is a painter and musician formerly based in Montreal, Canada. Born in Long Beach California, John’s artistic output focuses on the geography of rural northern British Columbia where he was raised as part of the American back-to-the-land movement of the 1970’s. His work can be characterized as docu-fictional amalgamations of the everyday filtered through digital media, that recall themes of presence and absence in a dialectic of personal and cultural narrative(s). Prior to becoming an MFA candidate at the university of Ottawa, Ancheta was a member of the artist collective and multi-genre band Yamantaka//Sonic Titan [Paper Bag Records (Canada)/Suicide Squeeze Records (U.S.A), All Tomorrow’s Parties (UK)]. During his time with the collective, their critically acclaimed debut album YT//ST won the 2012 GAMIQ Experimental Album of the Year Award and was short-listed for the 2012 Polaris Music Prize. Additionally, the collective’s sophomore album UZU, was short-listed for the 2014 Polaris Music Prize and was nominated for a Juno in the category of Best Alternative Album of the Year in 2014. Notable performances of the group include such venues such as the Art Gallery of Ontario and the Musee D’arts Contemporain de Montreal in Canada, All Tomorrow’s Parties festival (curated by Jeff Magnum) in the U.K, and Primavera Sound in Spain and Portugal. John holds a BFA with a minor in philosophy from Concordia University (graduating with distinction), has exhibited in Canada and Italy, has two prior publications and his work can be found in private and public collections in Canada, United States, Italy and Israel.
…is everything. (2015) Various mediums. 3m X 3m X 1m.
My work explores the relationship between the tyranny of ageing and emotional memories, often plagued by the distortion of time. I have a great interest in many types of mediums, and how they inform the work. Trying to synthesize everything in to the totality and interweaving of narratives of real and unreal, where each part of the puzzle can stand alone, but also contributes to a whole output. The body of work must mirror an actual body, unable to function without all the pieces, be they the oil paintings, the collages, sound, sculpture, video, design, consumer goods, they have to be made, or else the final result will resemble a corpse undergoing an autopsy. Cut and misshapen, lifeless, not complete.
Zoltan Veevaete is a dedicated artist with a passion for world art history. His unique style transports spectators into multiple territories at once. His paintings are incisive and intelligent, acting almost as a cult movie would. With each viewing the experience allows new perspective, unveils surprising new elements. Reading his works is both a simple and complex exercise; interpretation multiplies in order to reflect the complexities of our modern lives.
A self-taught artist, Veevaete has always been attracted to visual arts. His passion and ambition have led him further and further away from the paint can and closer and closer to the paint brush. On the heels of his experience as a career graffiti artist and muralist, he ventured into the world of painting, fueled by his admiration for classical painters. This led him to relocate to Spain for two years aiming to deepen his appreciation and knowledge of Spanish art traditions. In 2010, Veevaete completed his Bachelor of Fine Arts at Concordia University, and became the recipient of the prestigious Cecil Buller-John/J.A. Murphy Scholarship Award in Drawing. Since graduating, he has dedicated himself entirely to his passion for the arts.
Veevaete’s approach to painting consists primarily of voluntarily questioning his own influences, be they esthetic or technical, pushing the artistic process to constantly come full circle. His works reflect a space-time continuum comprised of back and forths, of elemental collisions, of borrowings and tributes to our collective past - thus creating a strange sensation, a fleeting feeling of déjà-vu, an evanescent vibe that perfectly inhabits the viewing experience.
The mixing of the masses is a metaphor for modern evolution in perpetual expansion. The blurring of the lines nowadays articulates fashion, music, information and representation technologies. It is a concept that not only defines us as a contemporary society, but borrows and tangles influences from the past in order to constantly redefine the frame of our current identities. We are then faced with a unique, expanding, dynamic subject; some sort of cyclical all-in-one. And, it is this quest to re-present the superimposed synergic nature of our lives that transpires through Zoltan Veevaete’s stylistic approach; a commingling of eras and esthetic influences for the creation of a personal collection of images with endless pathways of interpretation.