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<\/a><\/figure><\/div>\n\n\n\nBessy Lustiva-Espina, Seaton Village, 2020, Gicliee print from digitized film scan, 18\u201d x 24\u201d<\/p>\n\n\n\n
The details and closeness of these shots are balanced by the distance explored in the photographs of Ivan Rupe\u0161, Adrian Amaricucai and Ismayil Atmaca stretching light and shadow between isolated figures. A sense of isolation is fully realized in Monica Gupta\u2019s series Aging in Place<\/em>, which captures the bare realities of a shelter for seniors, one of the communities hit hardest by the COVID-19 pandemic.<\/p>\n\n\n\n Adrian Amaricucai, Together\/Apart #9, 2022, Film on Inkjet print, 11\u201d x 14\u201d<\/p>\n\n\n\n In the description of his work, Ross Stockwell says he wants to explore \u201clife, decay and what falls between the two\u201d. I found myself asking if we could separate the two. This collection asks: can we manufacture this space if we try hard enough or are both processes\u2014life and decay\u2014continual and inextricable? Linda Briskin references Ariel\u2019s song in The Tempest <\/em>when she talks about \u201csea change\u201d. She includes a few lines in her own artist statement, but she leaves the first few lines out. In those lines there is living decay. \u201cOf his bones are coral made, \/Those are pearls that were his eyes, \/Nothing of him that doth fade, \/But doth suffer a sea change, \/into something rich and strange.\u201d A constant shift\u2014life evolving and persevering.<\/p>\n\n\n\n Linda Briskin, Sea Change, 2021, Archival Pigment Print, 20\u201d x 16\u201d<\/p>\n\n\n\n Like the strength and stillness that perseveres through time and space in his vivid photographs, Glacial Erratics \u2013 Georgian Bay<\/em> Fred Lum explores rocks shifted by the end of the last glacial period of the Pleistocene epoch. Although the term \u2018glacial erratics\u2019 specifically refers to rocks displaced by shifting ice formations, the apparent contradiction of the words themselves creates a wonderful sense of time and place that beautifully compliments the work by each of the artists in this exhibit. <\/p>\n\n\n\n Fred Lum, Glacial Erratics \u2013 Georgian Bay 1, 2021, silver fiber contact print, selenium toned, 15\u201d x 26\u201d<\/p>\n\n\n\n Their relationships to place are very important to these artists. Both in their awareness of the world and the people around them and in their understanding of how we shape that world. Whether documenting the decay of man-made objects\u2014and with them a moment in their own life\u2014like Huw Morgan, or embracing the changing relationship of art and technology while longing for more connection to nature like Richelle Forsey\u2019s AI gardens<\/em>; or Lilianne Schneider\u2019s images overlapping nature with digitally generated traditional Peruvian tocapu. <\/p>\n\n\n\n Richelle Forsey, AI Garden (3), 2022, photograph on cold press photo rag, 19\u201d x 13\u201d<\/p>\n\n\n\n Each series stands on its own as a precise individual perspective, a slight shift, a whispered invitation to notice the world around you a little differently. Together they build something that feels very current and hopeful, encouraging us all to find new ways of looking and building\u2014to find life in decay.<\/p>\n\n\n\n Lily Scriven<\/p>\n\n\n\n Images are courtesy of Spectra: Gallery 44.<\/p>\n\n\n\n Artist talk and tour: Saturday, May 21, 2022 \/ 11am for the 2nd floor artists & 1pm for the 3rd floor artists.<\/p>\n\n\n\n<\/a><\/figure><\/div>\n\n\n\n<\/a><\/figure><\/div>\n\n\n\n<\/a><\/figure><\/div>\n\n\n\n<\/a><\/figure><\/div>\n\n\n\n