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September 29 – November 30, 2017

Glynis Wilson Boultbee

Mediations on Hinges and Hardware
mixed media, text and drawings 

Artist Statement:

meditations on hinges and hardware
Last winter people began saying they felt the world was coming ‘unhinged’. The word landed in my psyche, and I responded with a set of sculptural figures constructed using wood and second-hand hinges. These beings became the first citizens of what I called ‘the community of the unhinged’.

Afterward, I found I wasn’t done with hinges. As I looked about for a name for a web site about my art practice, I kept returning to hinges. Finally I surrendered and chose ‘hinges studio’. I wasn’t 100% sure it was right, but it had picked me and I couldn’t shake it off. At a two-week artist residency at Sparkbox Studio in Ontario this summer, I immersed myself — hoping to discover if this was more than a passing fancy.

While there, I examined hinges on the doors and gates of all manner of buildings and sheds, photographing them copiously. I bought them (and some other really cool hardware) at antique stores, hanging them on the wall of the studio in which I was working. I created them out of mat board and drew them on scraps of paper. I worked with a talented printmaker to create a logo from one, and I wrote about them in my journal. By the end of the summer, I had begun to understand what was drawing me to these everyday objects and how they relate to what I believe about art and art-making. Some of my thinking about this appears in the piece called “art connects us.”

But there’s more to come. I haven’t stopped drawing hinges and hardware, and I know now that I’m at the beginning of a long journey. As I meditated on the hinges, I invited peace and hope. But I was well aware that all is not well with our world. Many of the drawings were completed during events brought on or affected by weather extremes. They were created in an unusual Ontario July; down the road from huge fires in BC in August; and during back-to-back storms (meteorological and political) in the United States and beyond. This reminded me that even hinges themselves can unhinge. Subjected to too much stress, they may eventually succumb to metal fatigue. Some of my titles reflect the less than peaceful context in which the drawings were completed.

This exhibit is meant to communicate my initial reflections on hinges and hardware, but it is simply a beginning. I feel I’ve only dipped my toes into the water at the edge of a vast ocean. I’m curious to find out what’s out there in the deep. I suspect it may relate to what David Johnston spoke of in the Globe and Mail on the day this show was installed: “We are living at a hinge point, not just in our own history, but in the history of the world.”

I want to offer thanks to Chrissy and Kyle at Sparkbox Studio for their support and general all-round amazingness. Thanks also to the owner of Balleycanoe & Co outside Gananoque who allowed me to take endless photos of his astonishing collection of salvaged architectural materials. And finally, my thanks to the many people in my life who supported me through the early stage of this adventure.

Fulfilling a life-long dream, Glynis Wilson Boultbee is a part-time student in Red Deer College’s Visual Art program. It took her almost six decades to get there, and may take a further six decades to complete. But meanwhile, she’s having the time of her life. To contact the artist, email her at boultbee@telusplanet.net

Hours:

Monday to Friday 5:30 p.m. - 9:30 p.m.
Saturday 8 a.m. - 6:30 p.m.
Sunday 12 p.m. - 4:30 p.m.
Closed for stat holidays.

Facilitated by The City of Red Deer Culture Services and featuring the work of local emerging and established artists, the Corridor Community Gallery is located on the lower level of the Recreation Centre (4501 - 47A Avenue). Exhibits are changed bi-monthly. 

Call to Artists:

Are you interested in showing your artwork in the Corridor Community Gallery? Please contact us at 403-309-4617 or culturemailbox@reddeer.ca 

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August 31 - October 30, 2017

Ever Crown in Tow / Blissfully Prepared by Alysse Bowd Alysse

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Ever Crown in Tow - Alysse Bowd

The precipice. The Porcelain doll.
Never waning toward the fall,
fainting, fleeing, standing small.
Lost horizons, hearts enthral,
            the capture of the crown.

crown in hand, in pieces lain,
tumbling, falling, crown was slain
porcelain shards, once was sane,
but a doll begins her reign.
            the rescue of the crown.

Just a seed, the crown was sown.
Gentle blossoms ever known,
with broken promise, must atone,
            the blooming of the crown. 

The crown it grows, becomes a tower.
Rising from her head each hour.
Casting shadows, people cower,
fiercely growing, villain flower,
           the triumph of the crown. 

The porcelain doll stands in a field.
Awake and hungry for her yield.
Quiet brow, face concealed
beneath the tower, dreams are sealed,
           the mother of the crown.  

The doll she climbs upon the stair,
now within her towers care.
Her porcelain feet climb what they dare,
till vast horizons, open air
           the nervous little crown. 

On either side the fields lie,
A moat of silver floating by,
wind is swimming, breathes a sigh,
heavy clouds cloak her sky,
            and quarrel with the crown.  

Past the pool, the fields shiver,
Stretching, shaking, towers quiver.
frost too soon the towers wither,
waking wide, they must deliver
           the future of the crown.

Wonder, wander, stumbling flower.
overlooks a field of towers.
Cloak of sky begins to shower,
as the silent field embowers.
           the harvest of the crown. 

the harvest leaves the dolls who stood,
the maidens of a tower wood
without their crowns upon their head
but in their porcelain hands instead
           ever crown in tow.

These crowns behave like antlers, growing and stretching off the top of my head. They are seasonal and when they have grown too large, or I have run too fast they have had the tendency of getting caught on things like door frames and low-lying branches. I collect these broken crowns, these porcelain shards like baby teeth. The shard has potential to be a weapon now. 

The crown is an extension of my body, a declaration of a hidden identity, and an assurance of fate. It manifests from desire and perseverance and some delusion of divine right, questioning the divine right of the common, completely ordinary human. 

Blissfully Prepared - Alysse Bowd

My ceramic studio practice is a contrasting space of ritual, repetition, invention, and labour. I amass landscapes of sensuous forms. Using extremely thin sheets of porcelain, I treat clay as fabric and call on dressmaking techniques to exploit the plasticity and elegance of wet clay. The thinness and delicate construction allows for the creation of extremely fragile objects, which demands a particular preciousness. 

I am committed to clay, because with it objects can be made that have only ever lived in my imagination. It allows me to smuggle pieces of magic and daydreams into our world where their presence becomes proof that those imagined worlds exist. It is not sufficient that these objects merely exist as proof, I want them to function as portals back into that world. This happens when others hold them, use them, love them. 

Blissfully Prepared are a set of such smuggled pieces. They are a series of tools, nearly familiar, hybrids of forms we've used, the purpose of the object ambiguous -- these contrasting reads on the objects allow the viewer to both feel a memory of the object and yet require the imagination to fully define and explore the potential function of the forms. 

The Village Walls; Raghurajpur by Shirley Rimer

 

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The Village Walls; Raghurajpur - Shirley Rimer

I recently had the opportunity to travel to Rhagurajpur, in Odissa, India, to participate in a five week artist in residence program, the Raghurajpur International Artist in Residence Program (RIACE).   Although I am primarily a ceramist, I was excited to experience some historical forms of art expression that are unique to this village.  This exhibition is about that village.

Raghurajpur is a village in the rural heartland of Odissa.  It is off the beaten track.  Upon entering the village one can feel a history of tradition, both religious and cultural.  What is most striking is the beauty of a community totally involved in art and craft; a village of artisans.  Raghurajpur has 123 homes, holding close to 400 artists.  Many of these homes are decorated with historical murals depicting the lives of the people in this region of India.

Raghurajpur is the only village in India where every home is engaged in some form of art making.  Strolling the streets of this village, one can see a variety of these arts and crafts displayed on verandas and through the doorways of the homes, as well as innumerable wall paintings decorating the walls.

The stories told on these surfaces are the stories of the people who create them.  These villagers have spent their lives retelling these stories in their works of art.  They celebrate their history, both in the way they live and the work they do.

 

The Viewpoint Gallery is located in the Culture Services Centre (3827-39 Street, Red Deer) 
Hours: Monday-Friday 8 a.m. – 4:30 p.m. (closed from noon - 1 p.m.)

For more information on the gallery and member artists visit Viewpoint Gallery.

Gallery Guide

Whether you're looking for that special gift, a piece for your home or simply venturing out for a fun afternoon of gallery hopping, view the Gallery Guide for a listing of Red Deer art galleries, locations and hours of operation.

Gallery Guide 2016 (pdf)

For more information about the Gallery Guide, please contact the Red Deer Arts Council Visual Arts Committee reddeerartscouncil@gmail.com  or 403-348-2787.