Thank you to our presenting sponsors Norburn Lighting and Prime Image Group for your support on Luminescence IV!
Norburn Lighting has been Vancouver’s authority on lighting for over 40 years and has been the industry leader for residential and commercial lighting in Western Canada for over 70 years.
Prime Image Group, a locally owned Business Technology Solutions provider, specializes in Document Solutions and Service as well as IT Solutions and Support.
Andrew combines traditional lantern making with programmable LED’s to provide palettes of colours in his lanterns. From fire and flames to ocean waves, Andrew’s patterns provide a kaleidoscope of colours for nighttime festival attendees.
Google Photos: https://photos.app.goo.gl/U8kdgZXPGPMfmocs9
Deeply influenced by my surroundings, my work is a reflection of impressions different environments leave on me. Since moving to Canada’s West Coast and it’s overcast winter skies, I have become fascinated by light. I like to study how it reflects on surfaces, the shadows it can create & it’s capacity to uplift our spirits.
I mostly paint & sculpt abstract representation of clouds. By using reflecting surfaces I play with light and also with moving shadows when creating kinetic sculptures. Both mediums mirror each other in their shapes and aesthetic, creating an immersive experience.
Light ignites imagination, sparks emotion and lets us see what we may otherwise be blind to. Without light, life would cease to exist. It’s a force of nature we often bypass in thought, perhaps even
take for granted. This series of photographs spanning from 2015 – 2018 explores a variety of subject matter caught in a state of illumination, displaying the photographers fond appreciation of light through ambience, movement and beauty.
Wood is my primary medium, and I keep cognizant of its limitations and value as a material. Its impermanence in the face of elements, especially fire, makes me consider the preciousness of every piece of wood I encounter. In Front of the Sun takes my contemplation one step further by calling into our own weathered cosmological participation.
Instagram: @davidmartinello / @alternative_woodworks
Donna Polos is a Watercolour Painter and a Fibre Artist. She paints watercolours in three mediums, paper, canvas and fabric. Often she paints the three mediums side by side. Donna has painted a variety of subjects over the years. Recently, she has been focusing on landscapes, primarily trees. With her fabric, she has worked with chalk pastels, heliographic painting, glue resists, tulle, and beading. Hand embroidery is usually used to create texture in her work. Her needle becomes her pencil, in that she hand quilts to create line and additional texture.
Painting fast and loose landscapes in watercolour, enables me to connect with the fleeting moment of light – outdoors on location or from reference photos of places I have explored.
My work is about the feeling of having been there and recapturing the experience. It is about fresh air and freedom; rekindling the memory of a particular place.
I want the viewer to be captivated by the same emotion and overwhelming experience that I had from the subject location, whether it be in the moment of a setting sun by the sea, a stormy sky, majestic mountain, or entangled forest.
My work explores many forms and processes of art photography – from conventional silver gelatin to alternative modes. The pieces in this submission are unified around an installation piece, a series of arranged bio-specimens in Lucite, which are lit from below through a photographic filmstrip. It seems befitting that these animals should be preserved in plastic – a biproduct of the remains of their fossil kin. The fact that the encasing plastic is crystal clear allows the creatures to be illuminated, possibly by light generated from those same fossil fuels.
My photography is an exploration of shapes, light and texture. If my work has a mission, it is this: capture details in everyday scenes and imbue them with a new significance. I am fascinated with how light glances off objects, giving them a new energy. Referencing the practices of photographers Jindřich Štreit and Imogen Cunningham, I aim to capture life unfolding in the details around us, allowing me to explore fragments of texture and light as an abstract form.
Light is integral to my photographs but not in the conventional sense; my subject matter and my display methods defy expectation. This pendant piece from my Visual Alchemy Project simultaneously reflects and filters light, casting an abstract animated shadow nearby. It is a pure celebrations of light.
A traditional background in photography gives me confidence to take risks – something I encourage all artists to do. My multidisciplinary art practice is fuelled by bold and playful experimentation and takes photography out of its comfort zone. My art is a genuine expression of my visual curiosity.
I have met many fellow creatives whose inventive and energetic approaches to photography, painting, sculpture and assemblage art have been so inspiring. I am excited to navigate my own path in the Metro Vancouver arts scene and to be a leader in Canadian and international photography.
Three colors. Red. Blue. Yellow, and of course black and white. That’s all the paint you ever need in your paint box. Five tubes of paint. Pretty simple. But of course the opposite of simple. The most complex. An endless rainbow of every color ever produced and every color that has yet to be brewed. Five tubes of paint.
Within my abstract acrylic painting series and video installation, #DirtyPourSeries, I explore the cognitive processes that develop, strengthen and degrade memories, and perceptions that define reality. The viewer’s gaze becomes transfixed on the painting process— finding pleasure in the cellular formations as the paint flows across the surface. This process re-contextualizes — and creates an intensely satisfying — meaning to the phrase “watching paint dry”. Within this body of work, I liken the material and aesthetic transformations of my abstract paintings and video installation to the cognitive processes of the mind that form, recall and recreate experiences.
Situated within contemporary media, the concept of experience exists between our physical and digital selves. Through online platforms, shared memories can become simulacra entangled with perceptions of self-worth, “insta-gratification”, and self-curation. There is shift in power, accessibility and literacy of media production and consumption in contemporary practices from consumerism to “prosumerism” — merging production and consumption — and engagement with everyday life as a curatorial practice.
Ten stripped down toys sit on a light box illuminated from below. Once cuddly, furry and beloved by children, these toys now appear naked. They resemble embryos displayed as ghostly specimens, haunted and haunting. Playing between something loved and endearing, decay and the grotesque, these “Little Luminaries” confront themes that I have been working with throughout my artistic practice: the bizarre and disturbing; deconstruction and reconstruction; anxiety and repulsion; intrigue and delight. While they may be former toys, these ghoulish critters staring blankly at the viewer confront us with our own disturbing visions that creep up on us in the night.
I have two images of work suggesting the intended sculpture for Luminescence. The actual light box has not been built. I have included several images of previous exhibits.
Mark Johnston’s work explores the relationship between graphic and visual
representation. He is fascinated with how the removal of visual cues from an original
photograph can still leave the viewer with a feeling of emotion and connectedness to
The Crow, a mischievous trickster, is also intelligent and fearless. It is watchful of
intruders and predators. It “watches over” the space within this piece. The base with
its network of cracks speaks to randomness, chaos, drought, ageing and decay.
Two abrupt, direct red horizontal painted lines contrast with the natural randomness
of the underlying cracks. The lines represent the all too human desire to control, or
tame nature and the often destructive consequences. The colour red brings to mind
love, fire, blood, heat, anger, vibrance, radiance. Contradictory and yet
complementary themes existing within the space of this piece. Crackle Crow is
constructed from Baltic Birch with LED lights.
A paper cut design, here rendered as an edge lit acrylic piece, draws its inspiration
from a photograph, used with kind permission, by photographer Vince Hemingson.
This two layered piece explores the changeability of water. The LED lights provide
reflection and change of mood as daytime light progresses into evening and finally
nighttime. “The Swimmer” captures the multi faceted reflections seen in water. The
stippling overlies the underwater broken-up-lines. The piece is held in a wood frame
made of red oak.
Expanding upon the Impressionistic and photographic ideals of capturing the immediate and ephemeral essence of light in the present moment, I seek to find form in light itself, using experimental techniques to transform ordinary illumination into extraordinary abstract compositions. Using components from disassembled camera lenses and an experimental spirit, I seek to break the conventions of modern digital photography, and invite the audience to consider a shift in visual perception: with the tilt of a lens and the bending of light, the illuminations we take for granted become magical worlds unto themselves.
Instagram: @mcarsience_photography (instagram.com/mcarsience_photography)
Mike Stefureak is an artist/electrician working primarily in the film industry. He has assembled and reworked several lighting fixtures for private clients homes as well as creating lighting effects and fixtures for the film and television industry in his capacity as a set wireman.
Mike is also an avid writer, completing his first novel in the fall of 2018 with more to follow.
Peter Sickert is a Vancouver based multidisciplinary artist whose work encompasses installation, text, sculpture, video and photography. His work considers the fallibility of memory within the framework of the parafiction. His narratives seek out slippages and gray areas to evoke the longings for things not found.
I search for materials and objects that speak to me with the promise of sublime creations that will amaze, or tickle or surprise or give pause to think. I enjoy the mental game of taking consumer discards and making the mundane and common into the unique and spectacular. We live in a world in which almost everything is commodified – it is my challenge to repurpose consumer products into the unusual, diabolic, amazing and funny.
I am an experimental artist enjoying the many challenges involved in getting the effects I want from the materials at hand. In this piece I started with acrylics –some heavy body some fluid, some airbrush, some interference and some iridescent. Finally I finished up using collages of iridescent holographic foil.
Stevens’ work casts repeating geometric shapes and patterns with sharp edges. Some of his pieces have included; the LED digital stained glass windows, Pocket Universe, CNC Zen Garden, and the Laser Kaleidoscope. His installations have been shown at over thirty exhibitions including Burning-man, His portfolio extends further with is collaborations with numerous other artists. The perfect symmetry of his work is only possible with the precision of a computer-controlled machinery. His tools include; laser cutters, CNC routers and plasma cutters, which heavily influence his workflow and the aesthetics of his artwork.
Sylvie Rousel Jansens
Learning to sew and quilt as a child, I never lost the love of textiles, a beautiful translucent and versatile medium. Many years later, I developed “fabric burning”, a technique that consists of melting small holes in synthetic fabric with a soldering iron. I combine steel, fabric and light to create sculptural pieces where I can express my thought about history, the environment and society. I am influenced by traditional and indigenous design from all over the world, from the west coast of America to Maori, Australian aborigine and Celtic art. I recently took some time off from the juggling o many streams of my practice to focus exclusively on installations.
I find solace in textile work. Quilting is rooted in traditions of women’s work and collective work. It is about giving new life to old fragments. By looking at traditional patterns, I am creating tridimensional quilts, trusting that the creative activity brings hope to me as a maker and to the viewers.
Every color, shape, and pattern found in nature is a gift and a reminder to preserve the world’s natural treasures. I collect these gifts and put them on stage in my paintings, as my offerings to the lovers or art and land.
The interstitial, exposed space that bares itself during low tide, during the waxing & waning of the moon is the Foreshore. It is the space between land & sea. This is a dynamic place, the place of chaos, unpredictability and is a creative one of discovery and exploration.
In the spring, moon jellyfish emerge as if blooming like flowers. Jellyfish are temperature sensitive, and as waters warm, they reappear. As global temperatures increase so do jellyfish populations. They wash up on shore and upon deeper exploration, proliferate beyond our space of consciousness, just beyond the shoreline. I
Installed is a back-lite photographic work. Beneath, a sculptured wall hung light box, indicating the four phases of the moon. On the box, a small video monitor and headphone rests, which display the WELL, a video that takes us to our local seas, to swim with the jellyfish. Installed next to the box are jellyfish ceramic lamps hanging and resting on the shore.