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9TH FINE ARTS FACULTY BIENNIAL

9TH FINE ARTS FACULTY BIENNIAL
Claude Arseneault
Catherine Young Bates RCA
Anna Carlevaris
Giuseppe Di Leo
Rachel Echenberg
Eva Egers (Egerszegi)
Janice Flood Turner
Beverly Frumkin
Juan Gomez-Perales
Antonietta Grassi
David Hall
Harlan Johnson
Julianna Joos
Lise-Hélène Larin
Naomi London
Murray MacDonald
Andres Manniste
Marcia Massa
Loren D. May
Maureen McIntyre
Lynn Millette
Gilles Morissette
Frank Mulvey
Natalie Olanick
Allan Pringle
Brigitte Radecki
Shelley Reeves
Laurent Roberge
Kristi Ropeleski
Lorraine Simms RCA
Michael Smith RCA
Lois Eames Valliant

Kristi Ropeleski
untitled, 2009
122 X 152 cm
oil on canvas

Foreword
It is with renewed pleasure that I welcome you to the
2009 edition of the Fine Arts Faculty's Biennial at Dawson
College. Once again, this event provides us with the
opportunity to view and appreciate the artistic talent and
creativity that drives the faculty of our Fine Arts program.
This 9th edition is an important event for many reasons.
First, it illustrates tangibly the pedagogical commitment of
our teachers to shed light on their profession through the
practice of creation that permeates every facet of the creative
process. Second, this experience is an exemplary
learning exercise for our students as they witness creation
unfolding before their eyes, from concept to realization.
Exhibiting artwork lays bare the soul of the artist; it is the
risk every artist takes for truth in creation. For teaching
artists, the risk is amplified as the soul is exposed to the
very people, their students, who look to them for guidance,
knowledge and experience. For students, this relationship
helps them find their creative voice by engaging
fully in the process. The Biennial serves as the catalyst for
the pedagogical diffusion of art, from master to apprentice.
Welcome to the Biennial and congratulations to the teachers
for their generosity in sharing these creations with us.
Richard Filion
Director General
October 2009
C'est avec un plaisir renouvelé que je vous souhaite la
bienvenue à l'édition 2009 de la Biennale des enseignants
du programme d'Arts Plastiques du Collège Dawson. Cette
année encore, cet événement nous fournit l’occasion de
voir et d'apprécier tout le talent artistique et la créativité
qui animent les enseignants du programme d'Arts
Plastiques de notre collège.
Cette 9ième Biennale est un événement important pour
plusieurs raisons. D’abord, elle est la manifestation tangible
du souci pédagogique qui motive nos enseignants, soit
celui d’éclairer leur pratique professionnelle au moyen
d’une recherche artistique authentique, qui intègre toutes
les facettes de la démarche créatrice. Aussi, cette expérience
est exemplaire en ce qu’elle a valeur d'enseignement
aux yeux de nos étudiants qui y trouvent là l'expression
de la démarche artistique portée à son accomplissement.
Exposer son œuvre, s'exposer en somme, c'est assumer
toute la part de risque dans la vérité de l'œuvre. Pour un
enseignant, c'est le risque d'être soi-même devant les étudiants
qu'il a charge de former. Pour les étudiants, c'est
l’expression tangible du processus créateur qu'ils doivent
peu à peu apprendre à maîtriser. La Biennale représente
donc le catalyseur de cette transmission pédagogique à
l'œuvre dans l'interaction du maître avec l'apprenti.
Bienvenue à la Biennale et félicitations aux enseignants
pour cette généreuse initiative!
Richard Filion
Directeur général
Octobre 2009
3

Lorraine Simms RCA
C is For Cat, 2009
152 X 152 cm
oil on canvas

2009 Faculty Biennial
The Fine Art teachers at Dawson College are all professional
artists who exhibit regularly in Montreal and elsewhere.
As artist-teachers we have the great good fortune
to be exploring what we love from different perspectives.
Exhibiting together allows us to further the dialogue
about art making that starts in the classroom, and gives
students a context for our diverse points-of-view. It
underlines the idea that showing and discussing artwork
is part of the learning experience and as such, is a critical
part of the ongoing development of an art practice.
The Fine Arts Faculty Biennial now spans eighteen years,
during which time the exhibition has moved from a hallway
to an art gallery. This is one example of the Fine Arts
Faculty and College Administration working together to
make a common goal materialize. Located at the heart of
the Fine Arts Department, the Warren G. Flowers Gallery
symbolizes the professional aspirations of our faculty
and students. This central location also connects us to
the wider community of the college and underlines the
importance of art and creativity in daily life.
This exhibition gives us an opportunity to celebrate the
multi-faceted creative endeavours of our Fine Art Faculty.
Lorraine Simms
Fine Arts Department Chair
5

Antonietta Grassi
Antonietta Grassi has a BFA from Concordia University in Montreal
and an MFA from L’Universite du Québec à Montréal. Her solo
exhibitions include the Scar Calendar (1997), Painting Dot Com (1999),
Babble (2002), Mots Perdus (2005) and Langscapes (2009).
Antonietta Grassi
After Winter, 2007
152 X 183 cm
oil and ink on canvas
Julianna Joos
From thread to thread
I have always been fascinated by thread. I
have explored knitting and sewing, making
scarves and skirts, before engaging in fibre art
after a long detour in printmaking.
Prière 7 is a jacquard weaving created from a
scanned collagraph print. This artwork is one
amongst a series in which the untied knot
is used as a metaphor. It expresses ambiguity
between crisis and solution or death and
freedom. Jute ropes have been glued on
cardboard to create the matrix for the
collagraph. The scanned image of the print
has been reworked to suit the digital weaving
process. The sanguine ink in the printed
image has engendered raw linen thread.
Julianna Joos has been teaching Printmaking, Drawing and Computer Art at Dawson College since 1998. Julianna has degrees from
Concordia University (BA) and from Université du Québec à Montréal (MA ès arts, concentration création). Her professional career
started more than thirty years ago. She has had numerous solo exhibitions and has participated in over one hundred group shows
around the world.
Her production has evolved from primarily printmaking to a multidisciplinary approach involving printmaking, computer-assisted
weaving, digital imaging, and sewing. She is as comfortable in traditional processes as she is with digital technologies.
6

David Hall
David Hall
Ridge, 2007
48 X 138 cm
oil on canvas
Photo: Paul Litherland
Allan Pringle
Allan Pringle teaches art history and aesthetics, and glints at photoadvertising-design
practice / “thought”
David Hall received his BFA degree from
the Emily Carr College of Art and Design
(Vancouver) and his MFA from the Nova
Scotia College of Art and Design (Halifax,
N.S.). Hall’s paintings are represented in
the collections of the Montreal Museum
of Fine Arts, Musée National des beauxarts
du Québec, the Canada Council Art
Bank, as well as several public and private
collections. Recent exhibitions include After
Landscape (2009) at Galerie Art Mûr and Shifting
Ground (2007) at the Warren G. Flowers
Gallery. His work has focused on painting
and drawing and is marked by his interest
in fictionalized urban landscapes as subject
matter.
“ APPROACH / APPROBATION / a p p r o p r i a t i o n “, 2009. a pseudo-event.
[in this ap-image : one jilted lover (‘staged’ - left), one little Mexican circus dancer (‘hallowed’
-centre-stage), and one ‘tagged’ mural-effigy of tired-old Theason Luke (backdrop) ]
>>> CASTING CALL for a PAINTER -- An invitation to (re)appropriate this image !! ...
[ ‘Inspirational’ credits to Diana Gonzalez ]
7

Catherine Young Bates RCA
Catherine Young Bates, born in
Windsor, Ontario, is Professor
emeritus in the Fine Art Department
at Dawson. Landscapes are
often related to environmental
issues and Icarus is her symbol for
human overreach. She received
the Distinguished Alumni Award
from Victoria College, University of
Toronto, in 2006. Her most recent
accomplishments include a 60-
page catalogue for the concurrent
solo exhibits Out of Line: Monochromes
at the McClure Gallery in
Montreal (2009) and Out of Line:
Retrospective organised by the
Stewart Hall Gallery in Pointe Claire
(2009).
Catherine Young Bates RCA
Witness: Landscape Event, 2008
76,2 X 101,6 cm
Photo: François Lapointe
Lise-Hélène Larin
Glissements de terrains features "simulated photos"
of mathematical landscapes culled from my 3D
animation archives. I developed this concept as my
experimentation made me realise that the virtual
camera included in the program captures essentially
what the program is about by the very way I use the
program. My work thus exploits mutations in the
artistic process as well as the transformation of representation
in a virtual world. I play with perception
as it varies significantly according to whether my
images are fixed or in flux and most especially when
they are non-figurative.
This new animation furthers my research in 3D
animation. The application I use is meant to create
spectacular effects that we witness in science-fiction
films such as Jurassic Park, Titanic, Toy Story and many
more. My work questions the figurative and narrative
conventions of 3D cinematography where
simulation and the ideology of strict representation
reign. I create mathematical worlds that look like
landscapes but that essentially reveal the computer
programme's own manoeuverings.
Lise-Hélène Larin has a BFA from Concordia University
and an MA in Fine Arts from the University of Quebec in
Montreal. Works from Glissements de terrains were recently
exhibited at the Stewart Hall Gallery in Pointe Claire (2007)
and at the McClure Gallery (2009).
Lise-Hélène Larin
untitled, # 17 of 21 stills (chosen to be printed and laminated as simulated photos)
from a 3D animation from my series of 3D films Painting by Numbers, 2009
25.4 X 25.4 cm
8

Giuseppe Di Leo
Giuseppe Di Leo
Rupture and Beauty (Anjali and Nikhil), 2007
101 X 112 cm
pencil, wash, and colour on paper.
Private collection.
Drawing, notably, continues to be significant to my form of expression. This modality of art making gives shape to my
experiences, and underscores the principles and values I consider essential to living. Hence, my work would not have
the existential vitality if I were to preclude within its subject lessons inherent, in the banal weight of family culture. As a
father I am committed towards preserving the platform of family structure. I am equally challenged and privileged by the
interventions of both my children, their spirit and their struggles in the routine of living in what appears to be a hypersensitive
and hyper-paced environment.
Giuseppe Di Leo received his MFA from York University. His solo exhibitions include, Last Days of Pompeii at Waddington and Gorce, Montréal
(1989), Via Erebus at the Art Gallery of Hamilton (1990), hortus (en) conclusus at the Vieux-Palais in Saint-Jérôme (1993), and at the Université
de Sherbrooke (1994), Botanikos / ego receiver at The Justina Barnicke Gallery, Toronto (1997) and The Sacred and The Prosaic at Waddington
and Gorce in Montreal (1998). His drawings are featured in museum collections as well as in corporate institutions across Canada.
Giuseppe Di Leo teaches drawing in the Fine Arts Programs at Dawson College and Concordia University and is Director /Curator of the
Warren G. Flowers Gallery.
Lois Eames Valliant
My art work might be described as an attempt to
reconstitute symbols of memory bearing a recognizable
demeanour. Disappointingly (or perhaps
fortunately) memory lacks stability and becomes
only a skeletal construct of semi-transparent
musings
Lois Eames-Valliant is an art historian. Her art historical
interests include research in postcolonial themes, as
well as curatorial work and writing on the visual arts.
For her art production she is particularly interested in
watercolour painting and mixed media.
Lois Eames-Valliant
Time Stamp: Fragments (study), 2009.
mixed media
9

Juan Gomez-Perales
Juan L. Gomez-Perales has earned undergraduate degrees in
Architecture and Fine Arts from the University of Manitoba and
a Masters degree in Fine Arts from the University of Victoria. He
has exhibited his artwork internationally and has received numerous
awards and artist grants. His current work delves into the
aesthetic language inherent in issues of contemporary theoretical
physics and mathematics.
Beverly Frumkin
"Pictures are windows. They open up a view that
extends beyond the familiar horizons of everyday
life. They bring us face to face with figures we do
not know, with buildings from times gone by, and
with landscapes that no longer look the same or
indeed never existed at all.
Pictures offer adventure. At least to those who are
willing to step out of the four walls around them
and - using their physical senses, their powers of
intellect and their own life experience - discover
all that the work of art holds in store."
Rose-Marie and Rainer Hagen, 2002
Beverly Frumkin is an Art Historian. She completed her
BA and MA at McGill University and has received guide
certification from the Montreal Museum of Fine Arts.
10

Loren D. May
she is speechless
within this moment
no one else has seen
run run
no one knows
through that window
over his shoulder
four deer just ran by
run run
then one more
Loren D. May
something is broken (run run), 2009
48 X 100 cm
digital image
Photo: Roy L. Whybro
In my art making I have a consistent practice of drawing
and writing. The two are inexorably linked. One practice
does not particularly precede the other. The words
embedded in the images are not intended as titles, nor
are the images illustrations for the writings. The relationship
of the text and images at times surprises me with
its capacity for a fresh, or even raw revelation.
Loren D. May has a Diploma from the School of the Montreal
Museum of Fine Arts and a BFA from Concordia University.
Juan L. Gomez-Perales
Geodetic Rotational Displacement 45º 29.373” North Marker A, 75º 25.640”
Marker B, 73º 35.225” 143.859 km x 7.361 minutes, 2009
drawing in 4 dimensional space
left:
Marker A, 75º 25.640”
below:
Satellite simulation
11

Marcia Massa
"…nous n'avons jamais tout dit…tout
reste toujours à dire".
A.Gorz Le Traître
Marcia Massa
I Thought I would tell you (à la memoir de mon père), 1995-2006
36.3 cm X 40.64 cm
oil pastel and digital image manipulation
Rachel Echenberg
My art practice includes
performance art, video and
installation. I use these media
to highlight vulnerable, intimate
and uncontrollable relationships.
My work generally points
towards slow physical and
conceptual transformation.
In the past few years I have
been creating both live and
video portraits that examine
the body’s reactions towards
external stimulation in order to
create a portraiture that depicts
the body in subtle transformation.
In positioning this work to
highlight proximity and dislocation
with the viewer I am
experimenting with possibilities
for active empathy.
Rachel Echenberg
stills from : Portraits de Spectateurs, 2009
various dimensions
installation in progress
Rachel Echenberg holds a DEC from Dawson College (1990), a BFA from the Nova Scotia College of Art and Design in Halifax (1993) and
an MA in Visual Performance from Dartington College of Arts in the UK (2004). Since 1992 Echenberg’s work has been exhibited, performed
and screened throughout Canada, the United States and Europe, as well as in Chile, Lebanon, Morocco and Japan. Echenberg’s
videos are distributed through Vidéographe Distribution in Montreal. She is also a curator and has been teaching at Dawson College
since January 2009.
12

Frank Mulvey
Dreaming Along the Way
Dream
Of a life serene
Past the place of sighs
Wings
Caress the wind
Sent from azure skies
Dedicated to Michèle
Frank Mulvey has had numerous solo exhibitions of his paintings and
drawings. His enigmatic compositions combine notions of anatomy and
architecture. He brings a sensitivity to light in his work, partly fuelled by his
interest in photography. His artwork is represented in many public, private
and corporate collections, including the Canada Council Art Bank and the
Musée du Québec. He lives and works in Montreal, and has taught at Dawson
College since 1989. In 2009 he was honoured with a Teaching Excellence
Award by Richard Filion, the Director General of Dawson College.
Shelley Reeves
Working over the years with the notions of both portraiture and
still life I have ruminated often on the nature of visual reality and
how to represent it. Recently I have used the mirror, a treacherous
device for mimicking and instilling in us ideas of veracity. Finally,
what can we say about how things look The subjectivity of the
beholder seems well represented by the double gaze of the mirror
and all its laden relationships with looking.
Frank Mulvey
Dreaming Along the Way, 2009
203 X 91.5 cm
oil on panel
Shelley Reeves
Self-portrait, 2007
61 cm diameter
gouache on paper
Shelley Reeves, completed a diploma from the Alberta
College of Art, a Bachelor's degree from Concordia
University and a Master's Degree from Université du
Québec à Montréal. Exhibiting her work on a regular
basis, her paintings are included in many private
and public collections including the Canada Council
Art Bank, the collection of the Quebec Ministry of
Cultural Communities, la collection de Prêt d'oeuvres
d'art du Musée national des beaux-arts du Québec
and the Lantic Sugar collection.
13

Lynn Millette
My Images reflect what my senses bring to me
from the outside world as phenomena.
The duality of inner and outer perceptions from
which is perceived the world has opened my
awareness.
I am creating images that express qualities of both
perceptions, making visible through the treatment
of paint, effects that may describe movement or
emotions, sensations that come either from the
inside or the outside of my body, physical as well as
psychological states of existence.
Lynn Millette has substantiated her inquiries into perception,
creation and ontology through an active art practice.
She has a comprehensive background in disciplines related
to culture including the new technologies, philosophy,
psychology, literature, and the humanities. She has
participated in several individual and group exhibitions
including her most recent solos, Interior experience, at the
McClure Gallery of the Visual Arts Center and Sens vécu, at
the Maison de la Culture Plateau-Mont-Royal.
Lynn Millette
untitled (detail), 2009
acrylic on canvas
Brigitte Radecki
During the past few years, my strategy has been to
re-introduce metaphor and to disrupt the self-sufficiency
of the pure and silent monochrome by long
and descriptive titles. These are usually taken directly
from poems, novels or the personal diary entries of
women writers.
My process for this and other paintings in this
series has been to start with the chance effects of
dripped and thrown commercial paint. These are
then “filtered” through the camera and computer.
Beginning with abstract landscape-like surfaces on
the canvas, I then transcribe the spontaneous calligraphic
lines and forms that originated with the paint
throws and paint the spaces between these forms
with very small brushes. In this way, the large and
expressive gestures of modernist abstraction have
been turned into a slow and meticulous activity
which carries its own and different meaning from
the past.
The complete title is:
Brigitte Radecki
Roughing it in the Bush, 2008
76cm X 76 cm
acrylic on canvas
Photo: Richard Max Tremblay
The fire was raging in the cedar swamp immediately below the ridge on
which the house stood, and it presented a spectacle truly appalling. From
out the dense folds of a canopy of black smoke, the blackets I ever saw,
leaped up continually red forks of lurid flame as high as the tree tops,
igniting the branches of a group of tall pines that had been left standing
for saw logs.
(From: Susanna Moodie, Roughing It In The Bush – or, Forest Life in
Canada, 1913, originally published: Toronto: Bell & Cockburn)
14

Michael Smith
Extract from an interview with James D Campbell to be published in a forthcoming
exhibition catalogue at the Art Gallery of Peel, January 2010
Michael Smith RCA
Sea, Land & Silhouette, 2009
76 X 152 cm
acrylic on canvas
JDC So how do you relate to landscape painting
MS I think of my own landscape painting as the occasion for layering
associations. There are so many things I’d like to be influenced
by. The physical landscape of my past, the physical sense of place
I inhabit. Internet images deliciously corrupting traditional notions
of color and format. The various fictions I’ve developed concerning
the history of painting – the landscape as a stage or as a metaphor
for the impossibility of belonging to any one particular place – this
I do, for example, by avoiding any distinct representational marker.
And I’m interested in the illusory made material. And, as I mentioned
earlier, a formal discourse, the ‘coming up for air’ sometimes
reveals intentions unintended.
JDC How would you express in words what you are trying to do
Michael Smith RCA, completed his BFA at Falmouth College
of Art (England) and an MFA at Concordia University.
He has had many solo exhibitions, including, most
recently, exhibitions at Art 45, Montreal (2009), Galerie
Michel Guimont, Quebec City (2008) and Deeps and Skies
at the Nicholas Metivier Gallery in Toronto. Michael's
paintings can be found in significant public collections,
including the Montreal Museum of Fine Arts; Musée
d’art Contemporain, Montreal; Musée national des
beaux-arts du Québec ; Musée d’art de Joliette; the Art
Gallery of Nova Scotia; Concordia University; the University
of Lethbridge and the Canadiana Collection.
MS That’s really hard to say. I’d like to think I’m making generators,
fields of association. I’d like to make paintings that allow duration.
Duration in looking, perhaps just to be nudged into thinking
a landscape painting I composed could be believed as not only
existing in my imagination but possibly remembered, or encountered
by the viewer. There’s something about the fugitive nature
of memory and observation of place that is fascinating to me. You
catch something. I think I’m trying to make a painting express a
surprising sense of place or even wonder – an utterly invented
landscape that you’ve come upon in your travels or dreams yet
believe you’d been there before. Somewhere it really exists.
15

Harlan Johnson
The recent series of oil rig paintings emerge from a number
of experiences that broke through the surface of my
everyday life.
These experiences are simply my response to how I felt
while making images with paint. They instilled in me the
sense of complete trust in painting as a vehicle for communication.
These experiences are entrances and exits for the flowing
of idea - emotions.
Painting instills beliefs that have to be re-tested in each
new creative project.
One of these understandings is painting's ability to
create a subtle form of reality through literal material
presence. Another is that art is a series of questions and
answers in an intimate conversation with artists who
coexist at all moments of time. Yet another experience
that returns again and again, involves looking outwards
toward the world while passing through moments of
love and pain, being made aware of life always discovered
and always lost.
The oil rigs are about responding in paint to the compromised
state of things we humans create.
Harlan Johnson completed his BFA and MFA at Concordia University.
Recent solos include Bestiaire intime (2006) at the Galerie
d'art d'Outremont and Festoon (2000) at Galerie Trois Points.
Harlan Johnson
FireOffShore, 2009
166 X 113 cm
acrylic on canvas
Laurent Roberge
Laurent Roberge has an MFA from Concordia University
and diplomas from the Emily Carr College of Art and McGill
University. He has exhibited in Canada and abroad and has
received several awards for his work.
Laurent Roberge
untitled (studio model), 2009
78 X 53 X 2.6 cm
plaster, cellulose filler, acrylic medium, thread
16

Gilles Morissette
INSUBSTANCIEL
Ash is the unorganized matter of the world, of the
cosmos…
To create the work, I burned a bundle of white paper,
organized the ashes according to the dimensions of
the pile of paper and inscribe the text INSUBSTANCIEL.
The work speaks of the precariousness of our existence
and the space that we occupy on earth and within the
universe.
Materia Prima - The paper disappears into the fire that
releases a great amount of energy into the atmosphere,
signalling the metamorphosis of one matter into another,
that of paper to ash. Ash is born from the flame
and transforms to a new state of being, that of materia
prima. Though created in the same fire, the ashes carry
the traces of their origin, while transcending the origin;
it is both all matter and can bring about all matter. In its
fundamental nature, each particle of ash constitutes a
whole.
Gilles Morissette has a BFA from the University of Alberta, a
Masters in Visual Arts from Concordia University and a Doctorate
in Esthétique, sciences et technologies des arts from
Université Paris VIII.
Morissette has had numerous group and solo exhibitions in
Canada, Europe and Japan. His work can be found in numerous
private and public collections. His most recent exhibitions
have includes Otter Woman Breathing a collaborative work with
artist Cherie Moses at the White Water Gallery in North Bay,
Ontario, and Point de repère, a group exhibition at Maison de la
culture in Brompton, Quebec.
Gilles Morissette
INSUBSTANCIEL, 2009
21.5 X 28 cm
ashes of a bundle of white paper
Kristi Ropeleski
Plastic flesh, still. Romantic overtures, piled on top of one another. Unblinking eyes.
The translucent and opaque collide upon the surface of the canvas and begin to describe form and space. The flesh
of the figure is at once dead and alive; this ambivalence is also represented in the figure’s gesture, regard and context.
Squatting at the intersection of imagination and perception, this painting asks you questions and tells you stories.
Kristi Ropeleski has participated in several group and solo shows including such venues as the Museum of Canadian Contemporary
Art and The Philoctetes Centre for the Study of the Imagination. Ropeleski has also received awards for her research and creation. She
was recently included in a survey of Canadian contemporary painters entitled Carte Blanche Vol.2: Painting. Kristi Ropeleski has a DEC from
Dawson College, a BFA from Concordia University and an MFA from York University. She teaches at Dawson College and The Visual Arts
Centre in Montréal.
(see frontispiece)
17

Andres Manniste
Representation is a tricky animal to work with because
there is no practical purpose to it; the photograph does
it too well. My work is distilled from what I have looked
at, experienced or read. I don’t believe that I can do
anything with my work to make it become this or make
it become that or twist it this way or twist it that way
because in painting there is no preconceived, established
or proper direction. I believe that the form of my work,
if it is authentic, will turn out the only way that it should
because it is the expression of the moments I breathe
that I make manifest through paint.
Andres Manniste regularly participates in group and solo exhibitions
including, Oeuvres choisies de phasis, Esthésio Art Contemporain
in Québec City (2002), Drunken Boat PanLiterary Awards (for
Web art) in New York (2006), Cacophonie des esprits, Galerie Joyce Yahouda
(2007) and Urban Jealousy the 1st International Roaming Biennial
of Tehran (2008-10). His work has been acquired by public collections
including the Musée d'art contemporain de Montréal, the
Heritage Collection of the Quebec Archives, the Government
of Ontario Art Collection, the Canada Council Art Bank and the
Rhizome artbase in New York.
Andres Manniste
Found painting #3, 2009
64.5 X 82.5 cm
acrylic on reproduction on cotton duck
Anna Carlevaris
The earth is a boiled egg. An eyeball in a laboratory jar. A jellied orb, it wobbles in empty
space, lolls like a drunk. Kinga Araya knows this and she is prepared. She has adapted her
walking shoes; moulded them in steel, shaped them like two halves of a chocolate egg
with concave centres. Wearing them, her gait becomes the to-and-fro of a derelict ship on
the heaving surface of an ocean. But she is ready for this uneasy voyage.
For protection she has constructed a helmet of metal with long tentacles that test the
atmosphere and measure hostility. The helmet is also a lie-detector, a Geiger counter, a
cardiogram machine. To build it she has salvaged Sputnik, the first Soviet satellite, which
she found, rusted and abandoned, in a junk heap in a backyard of her old neighbourhood
in Warsaw. She will be the cosmonaut of the New Europe (reader, note that her helmet is
also a marine mine, lying dormant on the ocean floor; its clock still ticking patiently sixty
years after it was cast out to sea. One day a storm will dislodge it and it will float to the
surface, wash up on a beach in Florida, and bystanders will be both afraid and fascinated
by its murmuring form).
To serve her journey better she has also made armour for her tongue. Built a long brittle
prosthesis of iron that fits over it like a sheath on a sword. It extends in front of her, drags
on the ground, heavy like the tongue of an old lizard. It cuts a swath of walking space
ahead of her. Children are mesmerized by it; adults repelled. She can make it speak any
language. Sometimes, for accompaniment, she carries a violin and plays it (badly) like a
beggar man. A zingaro (gypsy) like the one in the Kertesz photograph, barefoot in a muddy
street of Budapest in 1919. Like him, she has started to walk west toward Berlin and Paris.
Others follow behind her music. They wear camouflage and paint their faces like tribesmen.
Anna Carlevaris, “Prosthetic Devices for a Global Walker”, a review of sculpture and performance by
Polish-born artist Kinga Araya (first published in C International Contemporary Art).
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Kinga Araya
Peripatetic Exercise, 1998
performance,
Pekao gallery, Toronto
Photo used with permission

Maureen McIntyre
If as Jacques Derrida suggests, an ultimate ground appears
illusory, multiplying uncertainty through metaphor, which
explores the taxonomies of loss, anger and grief can be a
possibility, opening up new sources for creative investigations
of death. The Western tradition appears singularly ill
equipped to deal with the issue of life at its end. Death most
certainly appears to be an ultimate ground, which is invested
with a panoply of meaning either real or illusory. My most
recent work explores the inconclusive possibilities surrounding
this fundamental issue.
Maureen McIntyre completed degrees from Concordia University
and studies at the University of New Brunswick and Nova Scotia
College of Art and Design. An Art Historian, her professional experience
includes a decade at the David Stewart Museum, the MacDonald
Stewart Foundation as well as curatorial work at the Montreal
Museum of Fine Arts and the creation of a Museum for the Grey
Nuns of Montréal. She also was involved in the inventory of historic
buildings with the Ministère des affaires culturelles in Montreal and
was involved with preliminary restoration work on murals for the
CPR as well as rescue operations following the fire at Notre Dame
Basilica.
Maureen McIntyre
Seraphim II, 2009
53 X 46 X 2.3 cm
mixed media
Her most recent scholarly research has focused on the Montreal
connections in Maritime architecture. She has published a study on
aspects of Montreal historic architecture.
For the last 3 years she has been the Co-ordinator of the Visual Arts
Profile of the CALL (Creative Arts Literature and Languages) Program
Natalie Olanick
Natalie Olanick
Smiles, 2009
various dimensions
from 7.5 X 13 to 23 X 23 cm
oil on canvas
I have always engaged in painting as an explorative practice. In my work, I have painted on a variety of materials. This
has led me to focus on the relationship between the materials and the subject. The boundaries that distinguish the two
become intertwined and meanings shifts from what the materials are to how they bond with the image.
Natalie Olanick is an artist, writer and part-time curator. She teaches at Dawson College and is on the board of Articule gallery in Montreal.
In the winter 2010 she is crating an exhibition of Francoise Sullivan at Womens’ Art Resource Center in Toronto. This event will be
in partnership with the Art Gallery of Ontario. She is always amazed at where art takes her.
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Claude Arseneault
Murray MacDonald
Murray Macdonald has a BA from the University of
British Columbia, a Diploma from the Vancouver School
of Art and an
 MFA from Concordia University. He has
worked in sculpture and installations, his work being
acquired by numerous public institutions such as Musée
regional de Rimouski, Les Jardins de Métis/The Reford
Gardens (on th St. Lawrence Estuary), The Art Gallery of
Algoma, The Winnipeg Art Gallery, Musée national des
beaux-arts du Québec and Musée d’art contemporain de
Montréal as well as by many private collections.
My work aims at making visible emerging apparitions and possible
feelings hidden in the original photographic capture of my home
and its surroundings. Photographs of past and present lived-in
places conjure memories and haptic experiences that seem to
reveal a continuum. Lately, my interest gravitates between observation
of the cold from the inside out to close-up and larger views
of ice and cold in the Québec landscape.
Photography occupies an important place in my work as it allows
me to capture images of chosen places and spaces. The captured
images reveal their own poetry and incite the creation of new
imagery on their surface.
I have developed a process whereby the photographic element is
manipulated to create a visual space where new images emerge.
These emerging images are created on the surface of an etched
plate and transpire elements of their origin.
Claude Arseneault completed her undergraduate and graduate degrees at
McGill University. Claude has recently participated in several exhibitions
including Gravures en liberté (2007), Centre d’art de Dunham, Boston-Montréal:
Un conte (2006), Stewart Hall Gallery, Pointe-Claire and Partie liée (2006) at Galerie
Graff. She has been a regular member of Graff and ARPRIM.
cover image:
Lorraine Simms RCA
from Lacey in a Cat Suit, 2009
122 X 152 cm
oil on canvas
above left:
Claude Arseneault
Lumière d'hiver, 2009
above right:
Murray MacDonald
Rite of Conveyance, 2007
steel, aluminium and wood.
Photo: Martin Chamberland,
The Suburban
Acknowledgements:
The organizers of this biennial exhibition/catalogue
project wish to thank all the people who generously
contributed to the event.
A special thank you goes to the following people:
Richard Filion, Director General
Robert Kavanagh, Academic Dean
Andréa Cole, Dean of Creative & Applied Arts
Lorraine Simms and the Fine Arts Department
Helen Wawrzetz
Exhibition Coordinators:
Giuseppe Di Leo
Andres Manniste
Catalogue:
Andres Manniste
An exhibition organised by the Fine Arts Department
for the Warren G. Flowers Gallery
©
Dawson College
3040 Sherbrooke Street, West
Montreal, Quebec
H3Z 1A4
ISBN 978 1 5501667 4 3
Dépôt légal-3ième trimestre 2009
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