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3/7/2015

A kind of graphic unconscious

Susan Hobbs Gallery, Toronto

Taking the moiré effect as cue through the convergent practices of Liz Deschenes, Eileen Quinlan, Erin Shirreff, and Erika Vogt — this exhibition considers how a relationship between the material and immaterial becomes permissible through thecrossing of singular paths. As an effect, moiré is the perception of a distinct third pattern which occurs when two similar patterns are superimposed slightly askew. By offering access to this latent pattern the immateriality of two dimensions shift to reveal a previously indiscernible three dimensional space. Due to their potential opposition to each other, these patterns can be employed to either obscure content or increase its evidence; thus moiré can be understood as “a kind of graphic unconscious: a basic condition of blur, out of which temporary effects of sharpness are occasionally won.” 1 The paradox of the effect is how it uniquely exists in physical space and time, yet also in the space of representation and the image.

Liz Deschenes’ work often focuses on the ethereal qualities of light, manifesting as imprints on photosensitive paper or as reflections by way of densely saturated surfaces. Her constructions, sometimes created without the use of a camera, often have a strong phenomenological component that is perhaps most evident in her Moiré series. Working within a similar context, the imagery present in Eileen Quinlan’s photographs is disrupted through chemical processes and filmic modifications. These techniques, often rooted in chance, create unforeseen compositions and semi-abstracted forms, subsequently expanding the possibility of what might come to appear within the frame.

In the works of Erin Shirreff perceptual shifts are made apparent through the juxtaposition of photographic representations and sculptural forms. Conflating various perspectives, the result is an ambiguous sensation of space and a simultaneous flattening of the object. Also considering the relationship between two and three dimensions, the artistic practice of Erika Vogt centers on a subtle yet complex dialogue between physically present objects and simulated spaces of the screen. In blurring these boundaries, expected functions and narratives are interrupted allowing for a multitude of associations, rather than singular connotations.

Image: Erika Vogt, “Darker Imposter” (2013), film still

Press Contact: (416) 504.3699, info@susanhobbs.com

Opening: Saturday, 4 July from 2 to 4 p.m

Susan Hobbs Gallery
137 Tecumseth Street, Toronto
Wed - Sat 11am to 5pm

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