Sophie Jodoin Artist Talk & Reception

On November 15, 2013 Sophie Jodoin gave an artist talk at Nipissing University and Line Gallery held the opening reception for her exhibition and so uncertain suddenly later that evening.

Sophie Jodoin's artist talk at Nipissing University

Sophie Jodoin's reception with Tiny tender love poem 1-12 (black) in the background

 

Sophie Jodoin's reception with Untitled (black bouquet) in the background

 

The Original Split – Nadia Moss

View of The Original Split

View of The Original Split

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Interview with Nadia Moss

Line Gallery:   Drawing is often thought of as something that occurs on a two-dimensional paper surface. You make works on paper, but your drawing practice also extends itself into the realm of installation. For The Original Split, for example, you brought a variety of drawings and items with you and during the installation you labour intensively pinned these drawings to the walls, created drawings on the walls by poking holes, pushed pearls and bead-like structures into the surface of the wall and used shadow to reveal drawings done on transparent plastic cut-outs which were also pinned.  Could you speak a little about how your practice developed in this way? How did you make the leap from the page?

Nadia Moss: I’ve always worked in 3D and mixed media, as well as drawing on paper, with an experimental approach to materials at the heart of everything I do. I’m not great at bringing a deliberate agenda or politic or emotion to a piece – I need to be messing around with something like a new adhesive or modeling compound and it’s through working it with my hands that I come to understand what I’m making.

In order to draw well I need to have blind faith in what my hand wants to do and let it do its thing. And often what it wants is to repeat a form over and over, like exercise or an empty prayer ritual. It could be catharsis, it could just be lack of a plan, but whatever the reason it’s often what my hand wants to do – But also (luckily) the multiplication and the echoing of forms are usually what I want to see. So for me the repetitive drawing instinct translates easily into the realm of the physical objects I make for the installations. For example, I need to cut out seventy five orange worms or find a whole pile of plastic red drops. I want to see multiple transparent arrows falling upwards through the air and a thousand pearls embedded in the wall.

In the context of a drawing on a page or a drawing in a whole room, these repetitions do the same thing – they cluster around some hidden action, describing it without rendering it. Like a hundred fingers all pointing at the same thing or a crowd of eyes fixated on something only they can see. Sort of like the harmonics that make up the note.

 

LG: So in contrast to the work that you do when you are installing a show, how do you approach making work in your studio? 

NM: I have a few different modes of studio work – one involves ink, a table, some paper and complete privacy.  That’s where the writing happens, where the quick emotive drawings happen – pretty much where I figure out what I am feeling and, if I’m lucky, where I’m going next.  I can sit and draw the same leg over and over all day, or the same washed out figures punching through each other, or I can draw twenty poems in thirty minutes or maybe just a page of a hundred blue circles. That studio can come with me anywhere, as long as I have the discipline to sit down at it, and as long as I have privacy.

The other studio work is more material. This is the work that happens in the studio that is my own, wherever that may be – This place has shelves with all my old supplies and junk, spray paint and random sculptural experiments, toys I’ve made and collected, drawings pinned everywhere, cigarette butts or carrot ends (depending on my health season) on the floor, bags of fur and horsehair, and the photocopied image of the little girl with the giant scar on her chest that I’ve been carrying around with me for almost twenty years. In this room I am really just farting around and making myself laugh – Trying to stick A to B with a new adhesive, perfecting my dirt-flocking technique, whatever. And I’m both heavily influenced and comforted my collection of things, by the music I’m listening to and by the people that visit me either in the flesh or in my imagination. It is where I feel the most at home in my life.

The other type of studio work is the ‘work’ work part, the result of Studio 1 plus Studio 2 and it is where I’m sitting with some internet tv show cutting out the hundred yellow eyes or whatever other busy work I’ve made for myself.

If I have the right balance of those three types of work going on, I’m feeling pretty good.

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Nadia Moss Artist Talk & Reception

On October 24, 2013 Line Gallery hosted Nadia Moss’ artist talk and on October 25, 2013 her exhibition The Original Split opened to the public.

Nadia Moss speaking at Line Gallery

Nadia Moss' reception for The Original Split

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Murder Ball – Erin Finley

The following images are of Erin Finley’s exhibition Murder Ball which ran from September 21 to October 12, 2013.

View of Erin Finley's Murder Ball with Vainglorious Macho, Murder Ball (deliverance) and Hillbilly

Vainglorious Macho

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Interview with Erin Finley

Line Gallery: When we first became aware of your work in 2007, you were doing large-scale paintings. When did you make the switch to drawing and what prompted that switch?

Erin Finley: Those paintings were exhilarating to make because they were big and brazen: the largest one was 15 feet tall. I was dealing with the sudden loss of my mother at the time, so there was a lot of angst in me back then, and I channeled it all into making work. The experience was very freeing.

 

LG: So do you think that the smaller scale of the drawings offer you something different?

EF: Those large-scale paintings felt heroic. But they’re like anthemic rock songs: all noise, no subtlety. Each of my current pieces has a lot more to say than those ones did. There’s this short story by Ernest Hemingway – and it’s only six words long – but it’s such an anvil, and in a way, my current works are modestly sized because I’m interested in economies of size. Hemingway’s story, in its entirety, goes:  For sale. Baby shoes. Never worn.

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Erin Finley Artist Talk & Reception

Line Gallery hosted Erin Finley’s reception on September 20, 2013 and her artist talk on September 21, 2013.

Erin Finley's artist talk at Line Gallery

Erin Finley's reception with Sex by Proxy, Port Credit High, and Girl Doing Blow at Art History Lecture

Erin Finley's reception with Wasaga Beach Fantasy in the background