Hanging Garden – Zachari Logan

The following images are of Zachari Logan’s exhibition Hanging Garden which ran from January 18 to February 15, 2014. Hanging Garden was curated by guest curator Rhiannon Vogl.

View of Eunuch Tapestry 3

View of Perch, Eunuch Tapestry 3 and Pansy


Interview with Zachari Logan

Line Gallery: There have been periods of time in your career where you have pursued painting, but it seems that you’ve always drawn and in recent years have focused your practice in drawing. What do you think interests you about the practice of drawing?

Zachari Logan: I find drawing to be a more natural way for me to express ideas directly, it’s a mixture of physicality, and patience; I have less for the process of painting, and for drawing, I have seemingly endless patience. Recalling a recent conversation with Rhiannon Vogl about the physicality of drawing and its relation to one’s body, we came to the consensus that for viewers there is a relatablity in drawing that’s not always present in other media, a naturally interactive element, because everyone’s had some experience with it, therefore to some small degree, it elicits an empathic response. I’ve gravitated to drawing as a main focus, in part, because I am naturally better at it, so expressing ideas becomes clearer visually, when one’s able to access a certain facility. When it came to my studies, I actually had more instruction in painting. This makes sense in retrospect, as at the time I felt a sort of anxiety about the references I was (and continue) to make that are predominantly from the language of painting. I realize now it was a silly concern, all visual language is obviously linked. I’ve also recently moved into ceramics, mostly hand-building construction, it’s another process with a sense of immediacy that I appreciate.


LG: That is interesting that you feel that sculpture has an immediacy that is similar to your experience drawing. Your exhibition Hanging Garden at Line Gallery had an almost sculptural presence; in particular your large Eunuch Tapestry drawings wrapped around the corners of the walls and hung floor to ceiling with one set spilling out onto the floor.  I suspect these drawings were created to be shown in a much larger gallery space, so what did you think about how they showed in our smaller space?  It seems to me that they became more like an installation, creating an environment for the viewer.

ZL: Absolutely, and that was one of the earlier conversations Rhiannon and I had when considering the exhibition… the idea of an installation, as opposed to simply hanging them directly, flatly on the wall – at first it was to be more like wallpaper, but maybe peeling at the bottom, but then we discussed the idea of it more as an environment that was encroaching on the floor itself, making it more sculptural, having it straddle both being a drawing and a having a sense of it as an object… referencing of course, its citation as a ‘tapestry’. The lovely intimacy of Line Gallery gave it the feeling of an alter piece or sacred space.


Zachari Logan Artist Talk with Rhiannon Vogl and Reception

On November 15, 2014 Zachari Logan and Rhiannon Vogl gave a talk at Nipissing University titled The Artist and The Curator and Line Gallery held the opening reception for Zachari’s exhibition Hanging Garden that evening.

Zachari Logan and Rhiannon Vogl talking at Nipissing University

Zachari Logan's reception with Datura and Eunuch Tapestry 4 in the background

Zachari Logan's reception with Eunuch Tapestry 3 in the background