CK2 at Projet Pangée

7

Artists: Nadia Belerique, Erin Baillie-Rutter, Marie-Michelle Deschamps, Stephanie Hier

Venue: Projet Pangée, Montréal, Canada

Date: November 12 – December 17, 2016

Photography: all images copyright and courtesy of the artists and Projet Pangée

The following is a theoretical proposition:

Two persons are conversing in the middle of an unrealistically large room, narrow too, let’s say 1 km by 1 m. Crazy narrow. Now, imagine that as they are speaking, they begin to back away from each other. They are making their dissimilar beliefs/values physically manifest through the space they are perpetuating between each other – person A encumbered by the incalculable, invisible weight of emotional labour, and B not only unencumbered by this, but disbelieving of its existence, as it is, as mentioned, not tangible, and if person B cannot see it, person B refuses to believe it (‘Show me the money!’ person B yells, gesticulating their arms wildly with a slap-happy smile plastered on their face). They continue talking, the volume of their voices fading proportionately to the distance between them, until –

Person A is cut off, completely, person A has dipped off the cliff, and to person B they’re mute and silly-looking, eyes full of feeling and mouth moving madly, emitting no sound, just useless, just aggravating the jawbone, just plain sad. Person A must still succumb to the insidiously violent words of B, so person A begins inching the walls, in an attempt to get away from the noise. A magnet holds A and B equally apart, and neither can gain more distance from the other. The backing away is slow, like the torturous drip of the
bathroom tap.

And, suddenly, A and B are yoyo’ed back together. The process begins again.

Therefore, there is no follow-up question for the proposition, nor, of course, any answer. Merely dissatisfaction.

And so they dance, forever.
Nuances develop, but the situation remains the same. Tuned in, tuned out.

1

2

3

4

5

6

7

8

Stephanie Hier, Wasting Good Paper, A Stamp And My, Time, 2016, Temporary tattoo on linen, Ceramic frame with glaze, 37 X 28 X 5 cm / 14 ½’’ X 11’’ X 2’’

9

Stephanie Hier, Tragic Hubris, 2016, Oil on canvas, Ceramic frame with glaze, 37 X 27 X 4 cm / 14 ½’’ X 10 ½’’ X 1 ½’’

10

Stephanie Hier, Snail Snafu, 2016, Oil on canvas, Ceramic frame with glaze, 38 X 35 X 5 cm / 15’’ X 10’’ X 2’’

11

Erin Baillie-Rutte, Compressed Cellar Windows (After Mărțișor), 2016, Mixed materials, 99 X 38 X 5 cm / 39’’ X 15’’ X 5’’

12

Nadia Belerique, Wet Pillow (Snake), 2016, Glass, steel, found object, 51 X 122 X 28 cm / 20’’ X 48’’ X 11’’

13

Nadia Belerique, Wet Pillow (Snake), 2016, Glass, steel, found object, 51 X 122 X 28 cm / 20’’ X 48’’ X 11’’

14

Marie-Michelle Deschamps, P.A.S., 2016, Steel enamelled and ceramic magnets, 22 X 51 X 11 cm / 48’’ X 20’’ X 4 ½’’

15

Marie-Michelle Deschamps, Coquilles, 2016, Plaster and marble powder, 117 X 53 X 1 cm / 46’’ X 21’’ X 1/16’’

16

Erin Baillie-Rutter, Su’s Mantel (in The Hurth of The Fire), 2016, Mixed materials, 216 X 122 X 76 cm / 86’’ X 48’’ X 30’’

17

Nadia Belerique, Wet Pillow (Spoon), 2016, Glass, steel, found object, 51 X 86 X 25 cm / 20’’ X 34’’ X 10’’

18

Nadia Belerique, Wet Pillow (Spoon), 2016, Glass, steel, found object, 51 X 86 X 25 cm / 20’’ X 34’’ X 10’’

19

Nadia Belerique, Wet Pillow (Tattoo), 2016, Glass, steel, found object, 38 X 56 X 25 cm / 15 ’’ X 22 ‘’ X 10 ‘’

20

Nadia Belerique, Wet Pillow (Tattoo), 2016, Glass, steel, found object, 38 X 56 X 25 cm / 15 ’’ X 22 ‘’ X 10 ‘’

Related Post

Leave a Comment