Kerri Flannigan, Emily Geen, Curtis Grahauer, Polina Lasenko, Brandon Poole, Anna Shkuratoff, Vilhelm Sundin, and Lauren Tsuyuki
Opening Reception – Friday, April 1 | 7pm
Roundhouse Community Arts and Recreation Centre
181 Roundhouse Mews, Vancouver
This year’s Capture Photography Festival launches with the opening reception of the inaugural Philip B. Lind Emerging Artist Prize and exhibition. The prize has been established to support emerging artists working with photography, film and video. Each year, post-secondary visual arts instructors are invited to nominate a student enrolled in a BFA or MFA program. Shortlisted students have their work exhibited as part of The Lind Prize exhibition. A winner will be selected and announced during the opening celebration, on April 1st, and will be awarded $5,000 toward the production of a new work to be included in an exhibition at the future Polygon Gallery in 2017.
The Philip B. Lind Emerging Artist Prize is made possible with generous support from Rogers Communications. Rogers made a significant donation to Presentation House Gallery to honour Phil Lind’s 45 years of service and contribution to the company and the communications industry, and to celebrate his passion for the Vancouver art scene at the time of his retirement last year.
The 2016 jury includes Stephen Waddell (artist and Emily Carr University of Art and Design faculty member), Helga Pakasaar (Curator, Presentation House Gallery) and Reid Shier (Director/Curator, Presentation House Gallery).
The shortlisted emerging artists for the inaugural prize are: Kerri Flannigan, University of Victoria; Emily Geen, University of Victoria; Curtis Grahauer, Simon Fraser University; Polina Lasenko, Emily Carr University of Art and Design; Brandon Poole, University of Victoria; Anna Shkuratoff, University of Victoria; Vilhelm Sundin, Simon Fraser University; Lauren Tsuyuki, Simon Fraser University.
Kerri Flannigan’s stop-motion animation maps the exterior of a now defunct institution for the intellectually disabled, using changes wrought to the building’s façade since the mid-19th century as a vocabulary of exclusion, to explore the ideological borders between healthy and sick, normal and deviant.
Emily Geen is engaged in an ongoing investigation into the contemporary condition of mediated looking. She purposely works with images that are amateur and ambiguous, and uses glass and other materials to fragment, obstruct, or otherwise direct our perception of the pictorial content.
Curtis Grahauer’s 16mm film installation depicts an environment that exemplifies the “super unnatural”, a term coined by the artist to identify the anthropogenic landscape that hides in plain sight, a grey area of obscured human influence, between the natural and the naturalized.
Polina Lasenko has photographed television newsreaders from video stills, drawing attention to their status as modern storytellers and to the divide between fact, fiction and propaganda. A second series connects narratives of the familiar and the familial through the actions of sea, wind, and time, in prints drawn from personal and family archives.
Brandon Poole uses recycled materials to create rough sculptural supports for his meticulous HD videos. In these works, virtuality and materiality collide, as small fluttering movements break the seeming flatness of the surface and trouble the apparent stillness of the image.
Anna Shkuratoff has made a series of videos dealing with themes of longing and nostalgia in the production of lens-based work. The technical and formal implications of HD video are revealed through subtle interventions into the video plane that encourage close looking.
Lauren Tsuyuki’s two recent photographic projects consider the transformative nature, both formally and philosophically, of a fold. One series uses the process of folding to break apart narrative and memory, and the other to accentuate the division between manual and digital processes.
Vilhelm Sundin’s video works bring together the sublime and the everyday. In one, a giant moon hovers over the city at night, familiar but strange. In another, the tiny figure of man can be seen smoking quietly on an apartment rooftop as smoke blankets the city.
Anna Shkuratof was born in North Vancouver but lives now in Victoria, where she is in the final year of a double major in Visual Art and History of Art at the University of Victoria. Anna works in a blend of video art and new media, in large and small-scale installations.
Brandon Poole is a multidisciplinary artist working in sculpture, installation, photography and video. He studied photojournalism at Western Academy of Photography and philosophy at Thompson Rivers University, and is currently working towards his BFA at the University of Victoria.
Curtis Grahauer lives in Vancouver, where he recently completed an MFA in Interdisciplinary Studies at Simon Fraser University. His work focuses on the way landscape is shaped by intertwining forces of human activity, such as economics, recreation and agriculture. His photography, 16mm films, and installations build a discourse between concepts of what is natural and what is naturalized.
Emily Geen has shown in solo and group exhibitions across BC and Alberta, as well as in Toronto and Ajijic, Mexico. Originally from Lake Country, BC, she completed a BFA from UBC Okanagan, and later pursued an MFA at the University of Victoria, graduating in 2015. Emily works with pictures and materials to investigate the perceptual conditions of looking as mediated by recorded images.
Kerri Flannigan is an MFA candidate at the University of Victoria, with a BFA from Concordia University, in Montreal. Through drawing, projection, and performance, she explores methods of experimental narrative and documentary. Her recent body of work examines family mythologies, coming-of-age confessions, the limits of language and the historical legacies of “normalcy.” Kerri is currently creating a performance to be presented at Intrepid Theatre, in Victoria.
Lauren Tsuyuki is a fourth-year Visual Arts student at Simon Fraser University. The two works she is exhibiting use the transformative nature of the fold to break up the narratives of pre-existing and appropriated photos to make new images. Manual Photoshop (2014) focuses on manual processes, such as folding, versus the now ubiquitous image processing done through Photoshop. Folded Exposures (2015) explores the same idea through the photographic process of developing.
Polina Lasenko is a Russian-born artist based in Vancouver. She is currently a student at Emily Carr University of Art + Design, finishing her BFA in photography with a minor in curatorial studies. She employs analog and digital photographic processes as well as new media to explore ideas around knowledge, mediation and imagery in a self-aware and humorous way.
Vilhelm Sundin is an interdisciplinary artist working mainly with time-based media. Born in Sweden, he moved to Vancouver in 2006 to attend Emily Carr University, where he received his Bachelor of Media Arts. He is currently pursuing an MFA degree at Simon Fraser University. Vilhelm’s films and videos explore what it means to be human in an increasingly complex world.