About the Artists
b. Matsqui, British Columbia, 1975
Gareth Moore’s practice draws our attention to details of everyday life that are often overlooked. His work transcends both the space of the studio and of the gallery; the majority of the objects he creates are made while traveling or in collaboration with a community outside the domain of contemporary art. In Uncertain Pilgrimage (2006-2009), Moore has created a sculptural travel log that is based on his journey through Europe and North America. Be they ephemeral site specific sculptures, drawings, photographs, videos or texts, these works are markers of an artistic process based largely in performative actions and interactions with the social space of the everyday.
Moore studied at the Emily Carr Institute, Vancouver (2001 – 2004) and the Ontario College of Art and Design, Toronto (1999 – 2000). Since 2005, he has had a number of solo exhibitions, most recently at Catriona Jeffries Gallery, Vancouver, (2009, 2006) and Lüttgenmeijer, Berlin, Germany (2009); CCA Wattis Institute of Contemporary Arts, San Francisco (2008);Witte de With, Rotterdam, The Netherlands (2008);Belkin Satellite, Vancouver with Jacob Gleeson, (2007);Art Basel Miami Beach, Florida (2006);Charles H Scott Gallery, Vancouver with Christian Kliegal (2005). He has also collaborated on two year-long site-specific projects, The Fred and Jock Gallery, collaboration with Christian Kliegel, Emily Carr Institute, Vancouver (2003-2004) and St. George Marsh, collaboration with Jacob Gleeson, 4393 St. George St. Vancouver (2005-2006). Moore has participated in numerous group exhibitions, both in Canada and internationally, and his works have been collected by patrons in Canada and the United States, as well as by the National Gallery of Canada.
b. 1961, London, Ontario
Myfanwy MacLeod is known for her wry sense of humour and ability to use her sculptures, photographs and installations to analyze, and even satirize, the relationships between individuals and the art world; for her, this interaction is representative of larger social structures. Layering references from popular culture, literature and art history, MacLeod is also interested in the way an image or a concept can be altered, transformed, or even given new meaning when its context or form is changed. In Sullivan’s Travels (2009), MacLeod combines references to the 1941 film of the same name with her personal collection of vintage postcards, to create a work that is exemplary of this shift, as the work journeys from figurative art to abstract form, and from social realist caricature to modernist conceit.
MacLeod was recently commissioned to create a public sculpture for the 2010 Vancouver Winter Games. Since 1990, she has been represented in numerous group exhibitions across Canada, the United States and Europe. In 1995, she received her MFA from the University of British Columbia, and has held teaching positions at that institution, as well as the University of Western Ontario, London and the Emily Carr institute of Art and Design, Vancouver. Her solo exhibitions include Where I Lived, and What I Lived For, Contemporary Art Gallery, Vancouver, (2006); Don’t Stop Dreaming Catriona Jeffries Gallery Vancouver, (2004); The Tiny Kingdom, Or Gallery Vancouver, (2001), Miss Moonshine, Catriona Jeffries Gallery, Vancouver, (2001); A Brief Overview of Personology, Charles H. Scott Gallery, Vancouver (2000) and How Not to Be Seen, VTO Gallery, London, UK (2000). Her work is held in the collection of the National Gallery of Canada, as well as that of private Canadian collectors.
b. 1967, Eagle Island, British Columbia
Geoffrey Farmer is interested in processes of theatricality – of storytelling, staging, improvisation, and the fabrication of reality. He has developed an increasingly research- and process-based approach to art making, creating elaborate sculptures and installations that revolve around a narrative scripted by the artist and that subsequently transform and activate both the gallery space and its visitors. Consistently in a state of flux or becoming, Farmer’s works, including The Surgeon and The Photographer (2009), often find their basis in a found object, memory or dream; he is particularly interested in investigating an idea(l) of humanity through the transformation of objects into characters that have their own (his)stories. Farmer attended the San Francisco Art Institute (1991–1992) and later graduated from Emily Carr College of Art and Design in 1993.
He has represented Canada at the Sydney Biennale (2008), the Brussels Biennial (2008) and The Melbourne International Biennial, Melbourne (1999). His work has been shown extensively in group exhibitions throughout North America and Europe, and is held in the collections of the Art Gallery of Ontario, Toronto, the Morris and Helen Belkin Art Gallery, Vancouver and the National Gallery of Canada. Farmer has had solo exhibitions most recently at the Witte de With, Rotterdam (2008), The Drawing Room, London, UK (2008), the Musée d'art contemporain de Montréal (2007), The Power Plant, Toronto (2005), the Art Gallery of Ontario, Toronto (2000), and the Catriona Jeffries Gallery, Vancouver (2001, 2004).
Hadley + Maxwell
b. Toronto, Ontario, 1973
b. Montréal, Quebec, 1966
Hadley Howes and Maxwell Stephens have been working under the moniker Hadley+Maxwell since 2000. The couple has developed a practice that centres on the importance of the collaborative process, and on their intention to create dynamic projects - from film sets, opera and dance productions, to conceptual works in all media - that are enlivened through an active and open-ended dialogue between the viewer and their work.
Using strategies of re-enactment and self-referentiality, Hadley+Maxwell play with the tropes of the political avant-garde, taking aim at the notion of “failure” that has dogged efforts of mass social transformation from 1968 onward. 1+1-1 (2007), is a continually evolving installation that draws its form from the interactions of an equally ongoing and possibly incessant activity - the musical jam - in which the artists aim to ‘unfinish’ Jean Luc Goddard’s infamous film One Plus One [Sympathy for the Devil], (1968).
In 1998, Hadley+Maxwell received their BFAs from Emily Carr Institute of Art and Design, Vancouver, and in 2004, completed a joint MA at the European Graduate School in Saas-Fee, Switzerland. They have had numerous solo exhibitions across Canada at AKA, Saskatoon, Saskatchewan (2009); Jessica Bradley Art + Projects, Toronto (2008); Contemporary Art Gallery, Vancouver (2006); Western Front, Vancouver (2005); Ace Art Inc., Winnipeg (2003) and Artspace, Peterborough (2003), as well as at Howard House, Seattle, WA (2005) and the Künstlerhaus Bethanien, Berlin (2007). The duo has been included in many group exhibitions in Canada and abroad, and has participated in numerous residencies, including at the Kunstlerhaus Bethanien in 2007. Their work is held in the collections of the Vancouver Art Gallery, the Canadian Art Bank, The National Gallery of Canada and private collections throughout North America.
b. 1970, Saskatoon, Saskatchewan
Althea Thauberger’s photographs, videos and performances are the result of her carefully planned collaboration with a specific group or community of people. Interested in documenting social enclaves that have come into being as the result of some form of seclusion – homeless people in downtown Vancouver, U.S. military wives, young Canadian female singer/songwriters or male youth in the German civil service – Thauberger aims to create situations in which they are able to express ideas of self-definition, alienation and community. She travels to various locations to direct performances that echo the lived reality of the people with whom she works, with the intention of illuminating the circumstances of their difference. La mort e la miseria, (2008) is based on her work with Ladini people from the Fassa Valley in Italy.
Thauberger completed her BFA at Condordia University, Montreal in 2000, and her MFA at the University of Victoria, British Columbia in 2002. She has participated in many national and international group exhibitions, including The 3rd Guangzhou Triennial, Korea (2008); Manifesta 7, Trento, Italy (2008); and Baja to Vancouver, organized by the Seattle Art Museum, the San Diego Museum of Contemporary Art, the Vancouver Art Gallery, and CCA Wattis Institute, San Francisco (2003). She was nominated for the Sobey Art Aware in 2004, and has been the subject of several solo exhibitions, most recently at Susan Hobbs Gallery, Toronto (2008), The Art Gallery of Greater Victoria, British Columbia (2008); John Connelly Presents, New York (2007); BAK, basis voor actuele kunst, Utrecht (2007); Künstlerhaus Bethanien, Berlin (2006); Berkeley Art Museum, University of California Berkeley (2005); and White Columns, New York (2004). Thauberger has created public projects in Vancouver (2008); San Diego/Tijuana (2005); Ottawa (2005); Montréal (2005) and Richmond, British Columbia (2003).