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Far Afield Exhibit

Prince George | Occupied and unceded Lheidli T'enneh Territory.

Opening reception Friday, May 12th, 7 pm - 10 pm. Exhibition open to the public May 13th - May 27th, Wednesdays to Saturdays from 2 pm - 7 pm or by appointment. Omineca Arts Centre, 1119 3rd Avenue, Prince George.

Public Events

Exhibition opening reception: Friday, May 12th, 7 pm - 10 pm
Curatorial exhibition tour: Saturday, May 20th, 3 pm - 4 pm
Exhibition closing event: Saturday, May 27th, 7 pm - 10 pm
Other forthcoming events related to the exhibition will be listed on the events page. 

Featuring new and experimental works by: 

Annerose Georgeson, Bill Horne, Andrew Maize, Jennifer Annaïs Pighin, Perry Rath and the RR7@Crysdale Crossing Collective (Karen Kellett, Judyta Frodyma, Joanna Smythe). 

Curated by Caitlin Chaisson, presented by Far Afield.

Exhibition Announcement

Far Afield is pleased to present its inaugural exhibition, Disturbances in the Field, featuring new works by Annerose Georgeson (Vanderhoof), Bill Horne (Wells), Andrew Maize (Musquodoboit Harbour), Jennifer Annaïs Pighin (Prince George), Perry Rath (Smithers) and the RR7@Crysdale Crossing Collective (Karen Kellett, Judyta Frodyma, Joanna Smythe) (Prince George). The exhibition aims to complicate our understanding of land-use in Canada, using material and visual experimentation as a proposition for new paradigms. The artists cross the disciplinary boundaries of drawing, sculpture, mixed media, multimedia and performance, eliciting alternative and compelling ways to relate to the land.

In the work of Annerose Georgeson, the hay that grows on her farm is taken up as fodder for a dedicated drawing practice. Through careful observation in the haylands, Georgeson renders the lines formed by the supple grasses into a kind of script. Despite being carefully recorded, the illegibility of the translation from the field into a form of cursive highlights the inadequacies that exist in any straightforward reading of the landscape. Jennifer Annaïs Pighin further challenges the idea of “marking” the natural environment, with an attentiveness to the colonial narrative that frequently underpins those designations. Pighin appropriates her Status Card, a form of federal identification under the Indian Act, to highlight the absurdities of the colonial classification of Indigenous lives. Confronting the language of eligibility and privilege, Pighin’s Status Cards depict bears and other resident animal species, framed in portrait views in a closely cropped landscape.

Troubling the boundaries between human and natural realms, Perry Rath’s sculptural work is a crystalline geometric structure built out of firewood. Inside the structure hangs a pendant in the shape of a human head, filled with a ball of suet and seed. Part bird-feeder, part scarecrow, the work suggests a complicated relationship with nature. Throughout the course of the exhibition, the sculpture will undertake a migratory pattern of its own, appearing in different locations in and around the city. From a more fixed vantage, RR7@Crysdale Crossing’s multimedia work projects a video of a dead eagle lying in a field that is in a seasonal transition from winter to spring. The projection is shone through a glass greenhouse, filtering light through the architectural model like a prism. As the light disperses, the work fractures the way nature is viewed through particular lenses.

Andrew Maize’s process-based endurance work unfolds slowly throughout the course of the exhibition. Maize will be boarding a cross-continental train at the beginning of the exhibition, arriving in Prince George towards the later part of the month. Maize explores the narrative role of image-making in relation to the construction of national mythologies, particularly the colonialist antecedents that shaped the Canadian Pacific Railroad. Disrupting the benign and altruistic façade of this historic institution, Maize will stitch together a number of counter-narratives throughout his journey. While Maize’s work covers an engrossing geographic expanse, Bill Horne has been emboldened by specific developments in the Peace Region of northern British Columbia. Horne’s work pointedly addresses BC Hydro’s Site C Dam and the activisms that have challenged the controversial project since the early days of construction. Horne’s maquette of an expropriated farm is surrounded with yellow stakes, screen-printed with hashtags: #nositec, #keepthepeace, #keepthepromise. Through miniaturization and printing processes, the strategies of circulation, distribution and multiples allow protest and opposition to be brought into new contexts.

Disturbances in the Field brings together artists and artworks whose wide-ranging influences liberally transform our assumptions about land and about situated knowledges. The disruption posed by the exhibition is meant to inspire a critical turn towards thinking about occupancy of the natural and cultural world in a myriad of ways.

This exhibition has been generously supported by the British Columbia Arts Council, Living Labs at Emily Carr University of Art and Design, Two Rivers Gallery and Omineca Arts Centre. Disturbances in the Field respectfully acknowledges its presence on occupied and unceded Lheidli T’enneh Territory.

Later Event: May 31
PIBC 2017 Conference