Lee (b. 1975) received his MFA from the University of British Columbia
in 2000. He is known for his experimental photo-based work but also
works across the range of media and subjects. In 2009, Lee was
longlisted for the Sobey Art Award.
Exhibitions include: On the Nature of Things at the Kamloops Art Gallery; Again and Again and Again I and In Dialogue with Carr at the Vancouver Art Gallery; Triumphant Carrot: the Persistence of Still Life and Playing Homage at the Contemporary Art Gallery; Evan Lee Captures at Presentation House Gallery; Le Mois de la Photo a Montreal; At Play at the Liu Hai Su Museum (Shanghai) and Curb Appeal at Confederation
Centre (Charlottetown). Current exhibitions include Roots and Elders at the Richmond Art Gallery and at Monte Clark Gallery.
Evan Lee’s work has been featured and reviewed in Border Crossings,
Flash Art International, Lapiz International Art Magazine, Yishu Journal
of Contemporary Chinese Art, Canadian Art, and Art on Paper. Lee has
taught at the Emily Carr University of Art and Design and in the
department of Fine Arts at UBC, and has served on the Board of Directors
of Centre A. Lee is represented by Monte Clark Gallery.
IMAGE: Forest Fire, Kwoiek, BC, after found BCFS Aerial Photo, 2010, found photograph, unique manipulated pigment print on reverse of Kodak photographic paper, 73.5 x 97.75 cm. Courtesy of the artist/Monte Clark Gallery.
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Michael Dumontier and Neil Farber
Dumontier (b. 1974) and Neil Farber (b. 1975) handle paint with a
studied crudeness, bringing to mind outsider art’s earnest, underdog
aesthetic and turning the act of painting - traditionally a serious,
solitary affair – into something casual and collaborative. As founding
members of the influential Royal Art Lodge collective, the artists
perfected the imperfection of improvisational painting, and their
musings with paint and text carry on in that spirit.
distance, the colourful pictures read like panels of a children’s comic –
sunny, cheerful, and populated with people, animals, and fantastical
creatures. Up close, they seethe with ironic text and bizarre, downbeat
humour. They are profound musings on human psychology, and as we laugh
at the absurdity of the artists’ imaginary world, we recognize in it the
realities of our own.
Their works can be found in numerous
public and private collections including that of the National Gallery of
Canada and of fellow artist Takashi Murakami. Both artists live and
work in Winnipeg, Canada.
IMAGE: 15 Signs, 2013, acrylic on hardboard,
63 x 53 cm
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Curreri (b. 1978) obtained his MFA in photography at Bard College after
completing a BFA in photography at Ryerson University. Curreri’s recent
shows include a solo exhibition, Something, Something at the
University of Toronto Art Centre as part of Toronto’s annual CONTACT
Photography festival. Curreri’s work has been included in several
international group shows, most recently in Surplus Authors at Witte de With (Rotterdam), An Unpardonable Sin at Castillo/Corrales (Paris) and 50 Artists Photograph the Future,
Higher Pictures (New York). The recipient of several awards and grants,
Curreri was presented with the Toronto Friends of the Visual Arts’
Artist Prize in 2011. His work can be found in the collections of Hart
House at the University of Toronto, the Agnes Etherington Art Centre in
Kingston (ON) and the Art Gallery of Ontario. Curreri currently lives
and works in Toronto.
IMAGE: Model in the Sculptor’s Studio
, 2010, chromogenic print, 139.7 x 101.6 cm.
Photo credit: Chris Curreri
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Myre (b. 1974) is a visual artist from Quebec and an Algonquin member
of the Kitigan Zibi Anishnabeg. For over a decade, her
multi-disciplinary practice has been inspired by participant involvement
as well as recurring themes of identity, language, longing and loss.
Myre is a graduate from Camosun College (1995), Emily Carr (1997), and
Concordia University (MFA, 2002), and a recipient of numerous grants and
awards, notably: Pratt & Whitney Canada’s ‘Les Elles de l’art’ for
the Conseil des arts de Montréal (2011), Quebec Arts Council’s Prix à la
création artistique pour la region des Laurentides (2009), and a
prestigious Fellowship from the Eiteljorg Museum (2003). In 2011 Myre
was longlisted for the Sobey Art Award. Recent solo exhibitions include: Meditations on Black Lake (gallery Art Mûr, Montreal), Nadia Myre: Symbology (Carleton University Art Gallery, Ottawa), Skin Tissue –as part of Hides: Skin as Material and Metaphor, (National Museum of American Indian, Manhattan), and Landscapes of Sorrow and Other New Work (gallery Art Mûr, Montreal). Her work was selected for the 2011
Montréal Biennale, and will be presented in the 2012 Sydney Biennial.
IMAGE: For those who cannot speak…, 2013, Digital print, 175 x 2380 cm
Originating from Saskatoon, Graeme Patterson now lives in Sackville,
NB. His intention as an artist is to bring the viewer in to the world of
play he exists in while creating miniature worlds based on personal
memories and experiences. Graeme's practice stems from a self-taught
method of producing stop-motion animations but has expanded into
building large video/sculptural installations. These installations
consist of animation, sculptural models, robotics, sound, music and some
interactive elements. Graeme's inspiration comes from a desire to
constantly develop an alternate reality that stimulates reflective
engagement with universal themes of longing, loss and recovery. Since
graduating from NSCAD in 2002 his work has shown nationally and
internationally including several solo exhibitions at significant
Canadian art galleries. Some of his recent accomplishments include; 2012
Canada Council for The Arts Victor Martyn Lynch-Staunton Award (media
arts) Atlantic finalist for the 2009 Sobey Art Award, finalist for the
Lieutenant Governor of Nova Scotia Masterworks Arts Award, and a 2011
Juno award nomination for album package of the year. Graeme recently
completed a new body of work entitled Secret Citadel, which is currently exhibiting as a national solo tour.
IMAGE: SThe Mountain (part of Secret Citadel), 2013, mixed media sculpture/video installation, 244 x 304 x 182cm. Photo credit: Graeme Patterson
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