that was for this 2015 ocadu scin thesis

2015 Sculpture/Installation Thesis Exhibition Series:featuring participating thesis students

OCAD UNIVERSITY'S

SCULPTURE/INSTALLATION PROGRAM, IN

COLLABORATION WITH BIRCH

CONTEMPORARY, ERIN STUMP PROJECT (ESP),

GALLERY 1 31 3, NO FOUNDATION, P/M GALLERY,

EDWARD DAY GALLERY AND ROBERT KANANAJ

GALLERY IS PLEASED TO ANNOUNCE THE 201 5

SCULPTURE/INSTALLATION THESIS EXHIBITION

SERIES, TITLED THAT WAS FOR THIS. FOR A

PERIOD OF EIGHT WEEKS, THIS SERIES OF

FIFTEEN EXHIBITIONS WILL FEATURE THE

MULT-MEDIAARTWORKS OF 4TH-YEAR

STUDENTS IN PROFESSIONAL GALLERIES

ACROSS TORONTO. THE SERIES IS MADE

POSSIBLE BY THE GENEROUS SUPPORT OF

THE NORA VAUGHAN BEQUEST AND THE

FACULTTY OF ART INNOVATION FUND.

1 | SCIN Thesis Exhibition

Adam FilekZannie Doyon

Benjamin VerdicchioJenna Allain

Taiwo Oluwadamilare OdunlamiNathan SachseJared Prince

Mary MaDavid Ballantine

Semone RajkumarAlison SpencerFrançois A. CôtéJounghwa No

Luke SmitJane Lee

Franco ArcieriErin Galler

Aurora JudgeLinda ParkBoram Yoo

Hannah PertsovskyChristiane Taudia Francella

Chantal WatkinsonJenny Lu

Parminder SinghPatricia Molina

Francesca Mendaglio

Exhibition Poster

SCIN Thesis Exhibition |2

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TABLE OF CONTENTS

3| SCIN Thesis Exhibition


www.adamfilek.com

My work exists in the forms of video, photography and liveperformance, using methods of meditation, endurance, ritual andoften carries with it notions of poetic and archetypal investigation.I aim to represent the divide between man and nature, inviteconnection with environment and the self, and to recontextualizethis divide as an optimistic return to natural and manual methodsof thought and action. My thesis work has centred around comingto terms with grief or loss through forming physical relationshipswith the inanimate, contrasting the passion of intimacy alongsidethe passive and inanimate nature of rock, creating scenarios thatare at once seductive and abhorrent, absurd yet emotionallyunderstood.

Adam Filek


zanniedoyon.com

As a result of her upbringing within the cinematicframework of Los Angeles, Zannie Doyon deconstructs thetechniques and relationships of cinema in order to reconsider itsfunction. In doing so, Doyon inspects and questions howcinematic narratives are presented, and represented, whileintroducing fictions that serve as markers for reality. As a result,her work features many forms of representation that stretch farbeyond the presumed cinematic. Her work is a product of variousrelationships imperative in the process of making— that betweentext and image, director and actor, and the audience with thegiven set around them.

Zannie Doyon


LittleWhile, 6 x 3 ft. plywood, tablet, linendecal, paper, headphones, 2015


(Above) Benjamin Verdicchio. CleftGraft. 3.5” x 2.25” x 17”. cement brick,wood dowel, spray paint, tape. 2015

(Right) Benjamin Verdicchio. The ThingAbout Place. 24” x 36”. inkjet printed

poster. 2014


Benjamin Verdicchio's work engages with the culture ofnature. Verdicchio has invested himself into concepts of place andagency and the products of their entangled evolution. Hisinstallations include seemingly lifelike objects, textbased andgraphic posters, gestural videos, and in situ interventions – all ofwhich emphasize a playful exploration of agency in relation toplace.benjaminverdicchio.com

Benjamin Verdicchio


Contact info:[email protected]Allain.com

(Top) Tourist Attraction, 7’ x 4’ x 7’ SilkscreenedWood Photo Board 2014

(Bottom) Curious George, 14” x 2” x 18”Silkscreen on Plexiglass, Barrel of Monkey Toys

2014

Jenna Allain

SCIN Thesis Exhibition | 1 0


The Untitled SymphonyWelcome to a sensual environment where you see sounds andhear visuals.Perceive your environment through these lenses.Experience a world in which we hear what we see as we see,And we see what we hear as we hear.The viewers and the technology collaborateIn generating the environment of this installation.

(Left) untitled symphony , 2015, mixed medium [detail]

Taiwo Oluwadamilare Odunlami

The work “Mass Media Mandalas” , “Political Geometry”and “Untitled (2015: State of the Union, Super Bowl Halftimeshow, and ISIS Kaleidoscopes) are a summons to exalt theeveryday ridiculousness proliferated from the news and massmedia spectacle. Through the invitation into a group arttherapysession, “Mass Media Mandalas” and “Political Geometry” are away of coping with a sanity besieged by innumerable trivialities,advertisements and (dis)information.While “Political Geometry”offered the audience 8.5”x11” bond paper take aways, “MassMedia Mandalas” invited the audience to participate (viacolouring) in a group mandala, printed everyday, consisting of apastiche of various illustrated newspaper images/themesgathered each morning.

1 3| SCIN Thesis Exhibition

Nathan Sachse

(Top Left) Mass Media Mandalas, Interactive Bond Paper Installation, MixedMedia, 2015(Right) Political Geometry, Interactive Bond Paper Installation, Mixed Media,2015(Bottom Left) Untitled, (2015 State of the Union, Super Bowl Halftime show,And ISIS Kaleidoscopes) Inkjet on Satin, 2015



It would appear that domestically situated objects have apropensity towards gathering information as readily as they dodust. It is a strange, yet familiar and altogether intimaterelationship we share with our possessions. In all of the physicaland psychological debris that we burden these objects with, thereappears, startlingly, fragments of us peering back. Theseinsentient things whisper to us the deepest of recollections,summon the most impactful of impressions, and ultimately shapeus in our inimitable perceptions of them. Each of us carries apersonal history which we have a tendency to dispersethroughout our homes in the form of material objects.Whilesome of these objects remain purely utilitarian, others weempower with a greater sense of meaning and purpose. How dodomesticated objects metamorphose into signifiers of somegreater meaning?

jaredprince.com

[email protected]

(Top Left) ared Prince."Duplicitous Yellow Object" Plastic table, wooden frame with

glass, ceramic urn, steel light fixture with clothcovered cord, acrylic riser, light bulb,

digital print on paper, wooden toys, wooden toy parts, powdercoated steel discs,

wooden knobs, wooden balls, galvanized airplane wire, dowels, screws, cotton twill,

cotton, vinyl, zipper, polyester thread, latex paint, glue, shellac. 36"W x 48"D x 60"H.

2014

(Bottom Left) Jared Prince"Dazzling Futile Object". Laminated chipboard, foam, polyester

fibrefill, cotton spandex, cotton twill, glue, staples, polyester thread

23”W x 28”D x 16”H. 2014

(Right) Jared Prince. Bungalow from “Mirage Mirage”Copperplated steel, wooden balls,

latex paint, shellac. 5.5"W x 4.5”D x 4”H. 2015

Jared Prince


[email protected]

My work stems from an interest in depth, and theexperience of being immersed in the world. In searching forunnamed places, I am propelled by a desire to come in contactwith things greater than myself, and locating experiences outsideof language to which I become lost, emptied, and irreducible. Inisolating the phenomenon of matter in bodies of water, in thevapor of clouds, in the light of horizons I hope to generate worksthat gently decenter the self, opening up possibilities in reflectingon the vaporous traces that can lodge themselves within us froman expansive and mysterious world.

Mary Ma

reverence in reverie. five channel video projection,fabric, rope, steel. 16' diameter circle, 2014



( Top) Breath Vessels, 2015, brass, walnut, leather(Bottom)Wind Machine, 2015, brass, walnut, steel


David Ballantine

The Remembering of the Air alludes to the sublime powerof the air that is present even through its absence. The presenceof the Air and its greater winds are offered up freely and broughtto the body through the interaction of mediating instruments.Extending our bodies and senses, these apparatuses are able tointerface with the air and create wind, play wind, and hear itresound in that space to claim and know it.This shaping and sounding of the Air is the remembering of itspresence; the mediating of the very medium in which weexperience all things. Air is a vehicle for sound and light, a lifebreath inside and a spoken word out. It is the filling of a void weerroneously imagine. For we all breathe the same air.As expressive mediators of sensuous human experience;interpreters of gestures and phenomenon, instruments are thebodyingforth of an affective language beyond our digitalalphabetic code. What language is it that they speak? What islost and what is gained through their translation of experience?How do they affect our perception of environments? Through theinteraction of instruments and the body in reverence to the Air,this work investigates the sensuous within a growing digital andimmaterial world.

www.davidballantine.com

(Bottom) From Here to There, Steel bars, lights, audio, 2015(Top Left) Detail shot of steel bar forms from From Here to There(Top Right) To Remember and To Admire, Acrylic rod form, digital

projection, 2014


The artist works primarily in themes of memory, time, placeand displacement. Inspired by the architectural spaces that exist inthe world as well as the body’s movement through those spaces,the artist contextualizes lived experience in relation toconnectivity, familiarity, and belonging. Analyzing how one mayform relationships with the inanimate objects and places in theirimmediate surroundings surfaces concepts of collective memoryand memory as an operative tool in retelling experiences of theworld. The artist explores fragmented and imagined realitiesthrough the fabrication of objects that are inspired by personalexperiences, with an attempt to reveal truths about the humancondition.

[email protected]rajkumar.format.com

Semone Rajkumar

(Left) 250 Byng Avenue, Assemblage ofrecycled building materials fromdemolished homes and plant life, 2015.


In an hour, a bulldozer levels a house where a family livedfor fifty years, along with the plants, gardens and irreplaceabletrees that surround it. A home more than twice its size is built inits place and its occupants retreat inside. The destruction of urbanlandscape is changing the characteristics of neighborhoodsbeyond recognition.

The quilt, constructed out of discarded building materialsmemorializes the human presence, plant materials, trees and theidea of neighborhoods.The history contained in a family’s home offifty years is condensed into a 6 by 10 ft. panel of bits and pieces.There is reason to consider what comes next.What qualities dowe want neighborhoods to have, and have we lost some of whatmade them livable?

[email protected]

Alison Spencer


François A. Côté

Content is always secondary to context.

Everything is a word.

François A. Côté

everythingisaword.com


I am a Toronto based multidisciplinary installation artist. Iam driven by moments and surroundings. Chance encounterswith everyday life, objects and nonobjects, and happenings, stopmy heartbeat and pique my curiosity. I wonder more, I askfurther, I deconstruct and I hack. I challenge the prescribednotions of purposes and functions. I repurpose, bring out thehidden qualities and provide a different perspective.

I see a decommissioned hot water tank. I wonder what itlooks like inside, how it feels being an empty tank. I strip the shelland peel off the remaining layers. I fall in love with rusty oldmetal, exposed and free, exuberant in its element.

What innate, yet underappreciated qualities andfunctionalities do objects or happenings have? How do theseaffect us?

The themes that recur in my work are: the methodology ofplaying and hacking using found objects; the notion of thingness,physicalness and phenomenology; the concept of posthumanism;and the spatiality and sociality of objects.

[email protected]

(Top) Three Hot Water Tanks (instal lation view) 201 5, Hot water tanks,

Fluorescent l ight tubes, Cables, Chains

(Bottom Left) Perforated Light Tank 201 4, Hot water tank, Fluorescent l ight

tubes, Cable

(Bottom Right) Sound Tank (detai l) 201 4, Hot water tank, Fluorescent l ight

tube, Cable, Chains

Jounghwa No


Immersed in the languages of science fiction and sciencefact, Luke Smit presents a discourse between the territories of theknown, the unknown, inner space, outer space and the universesof the brain and the cosmos. By including largescale analogversions of his imagined organic forms that reference 80’s scifipopculture; he is grappling with what was imagined to be ourfuture then, and what has become reality now. In an otherwiseincreasingly nonphysical,digital world, he discusses theimplications of living with a limited physical body when faced withthe seemingly limitless potential of data space in thetechnological world. He employs this body in performance andfigurative works to embrace the relationship linking theimagination with reality. In doing so he suggests symbiosis withour creations is the way to conquer the popular idea of humanitysuccumbing to its own technology in the pursuit of ultimateperfection.

Luke Smit


(Left) Panspermia(Infested Rocket Engine)2015. Cast Aluminum,Insulation Foam, RubberLatex.Approximately5’x5’x8’(Bottom) Membrane(performance) 2014.Rubber Latex, Foam,Cheesecloth, Muslin,Galvanized Steel Chain,Cold Rolled Steel Bar,Chain Hoist. 8’x8’x12’.6:00 Duration.


Jane Lee's work explores how manufactured objectsperform outside of their given physical obligations. She questionshow the physical appearance of a product or material can existindependently of its social and economic value, in order to exhibitand elevate its 'objectness'. Lee believes that materials holdvaluable information implicit in their structure and aesthetic tissuethat are capable of activating thought and emotion. Through herpieces, she considers the potential role of the disposable objectoutside of its intended use, in emphasizing the materials theyhold, to activate and speak to our senses. Her practice exploresthe aesthetic tissue of the disposable object as a form of sensoriallanguage, which never stops being.

Jane Lee


My practice focuses around communication andrepresentation in our digital culture. Much of my work seeks toenact/reenact communicative tensions. I achieve this through theproduction of immersive installations. My environments set up ascenario of interaction/communication yet obscure thisinteraction. I often utilize sound as my main aesthetic tool. Thesounds produced in my installations always have some correlationto the viewers in the space in that it is activated by their presenceor produced/altered based on of their movements. Myinstallations are designed to encourage this interaction yetchallenge it through the abrasive sound quality produced byinteracting with the work.We are superconnected through digitalforms of communication yet disconnected by the recedingemphasis on physical, facetoface interactions. My work is notintended as a critical investigation into the role oftechnology/communication. Rather, my intention is to create artwhich references and enacts these communicative tensions.

[email protected]://vimeo.com/user16594086http://francoarcieri.blogspot.ca/

Franco Arcieri


Theremin Installation, OCADU, 2014, Rope, AMFM Radios, MotionSensor, Arduino Chip, Tape, Green Light


(Above Left) Turkey. Taxidermy, Plaster, Paint,Wood, Artificial Foliage. 20143.5' × 2'

(Above Right) Obituary. Taxidermy, Newspaper, Blood,Wood. 20143' × 1.5'

(Bottom) Obituary (Detail). Taxidermy, Newspaper, Blood,Wood. 20143' × 1.5'


Taxidermy is the art of taking the skin of a deceasedanimal, preserving it and attempting to recreate the animal in lifewith stretching and working it around an artificial core. Taxidermyhas taken many controversial pathways to get to the point whereit is today which can be still be considered undefined. It plays withthe ethics of being apart of the human race and having theassumed authority over animals and nature that we can controltheir outcome.

We have lost touch with nature and the way that weconnect with it as we have attempted to control and dominate it.Through Taxidermy we have found a lasting way to separateourselves with nature, creating these objects and displaying themfor our viewing pleasure, further pushing the notion that theseobjects were once real. These objects lived, breathed and had livesbefore they became these things that we hang on the wall, put inthe corner of the room or underneath our feet. I aim to reinforcethe issues of ethics and construct a reminder to the raw andauthentic source from where these objects once came, to resensitize.

[email protected]

Erin Galler


Aurora Judge

This collection of wearable artworks explores body politicsand traditional gender roles in relationship to the evolution offashionable dress.We use clothing to alter or supplement thebody, its movements, and its spatial interactions, inscribing socialmeaning upon the body itself. These changes have the capacity toreinforce or to subvert gendered definitions of beauty, sexuality,and behaviour. As interface between the body and itsenvironment, dress reflects the long history of shifting powerdynamics surrounding women’s bodies and the way in which theychoose to display them. This accumulative history keeps societybound to the “styles of the flesh”. Vanity, frivolity, temptation, andall other traits long associated with ornamentation of the femaleform converge to form our contemporary understanding of whatit means to perform the role of femininity.

[email protected]


Styles of the Flesh: Alternate States ofBody, 2015, Steel, ribbon, leather


(Right) Mindsscent:Defilement, 2015,

multimedia, 98x98x6"

(Left) Mindscent:Emanation, 2015,multimedia, 38x52x20"


MINDSCENT2015

Spoken words are the result of what has been held in mind,and they do not remain in the phonetic state of literature.Wordscome from our memories and experience and are delivered andcommunicated. The state of mind is inevitably smeared intowords, and through words, we perceive and understand eachother’s position. I believe each of these words exudes a distinctivescent that embodies the speaker, in a sense of aura that surroundsthe language. It is emanated out into the atmosphere anddetected by the listener.

I call this phenomenon “ Mindscent. ”This scent is sensed by the listener’s mind, not by nose, at

the moment the words are thrown in the air, deep into the heart.Mindscent is not spoken but carried out. It is remembered andrecorded.

"It is not what enters into the mouth that defiles the man, butwhat proceeds out of the mouth, this defiles the man."

Matthew 15:11

Linda Park


Inspired by those modern figurative sculptors, includingDuane Hansen, EvanPenny, Ron Mueck and my teacher, DavidPelletier, I am captivated by the humanform, by the way that agesture can speak to the audience. I convey the emotionalweightof a sculpture, showing through the gestures and movement.With the finecraftsmanship and substantial volume, my figuressuggest the poignant social issueshappening in our time.

[email protected]@student.ocadu.cahttp://www.facebook.com/sculptoryb

(Top Right) Boram Yoo, Homeless,Mixed media, 2013

(Bottom Right) Boram Yoo, A Boy and aBalloon,

Mixed media25”x35”17” ( without balloon), 2014

(Bottom Left) Boram Yoo, Self30”x18”x37” Mixed media, 2015

Boram Yoo


Through an examination of industrial material, HannahPertsovsky’s work endeavors to study how materials naturallychange over time, highlighting growths and entropies that oftenoccur within our peripheries of sight. Pertsovsky invites aconsideration of the slow ruptures of form, pursuing the basicphysical principles that all matter is subject to through wear andimpact.

[email protected]

(Bottom) Past Prime, 34”x 34”x 8”, Steel, Motor, Plaster, 2014(Middle) Past Prime (detail), 34”x 34”x 8”, Steel, Motor, Plaster2014(Top) Past Prime (detail), 34”x 34”x 8”, Steel, Motor, Plaster 2014

Hannah Pertsovsky


My thesis focuses on the history of how women have beentreated in history, using Hysteria, The SalemWitch Trials, TheBubonic Plague and depression as examples. Hysteria was the firstmental illness that was solely attributed to women these womenwere sent to institutions with the hopes of making them wellagain. The SalemWitch Trials were a way to blame outspokenwomen for the misfortunes that they were unable to understand.During the Bubonic plague women who's husbands passed wereallowed to take over their duties and their land, but only if theywere passed a suitable age to remarry. Teenage depression andthe acting of selfmutilation is very common and is verydetrimental to a young girls development. I work with miniaturesand dolls because I feel I have more control at a smaller scale.

Christiane Taudia Francella


(Above) Paper 11x17 ((Bottom)Wood 3' x 9" x 9"


I am interested in the interactions between the artist and

the public in regards to how an art piece is thought up and then

realized. To facil itate this interaction I hand out surveys to be

complete and based off other the answers fi l l in, the individual

receives an art piece. Whether or not the art piece is what the

individual asked for wil l remain to be seen.

http://chantalscustomcreations.ca/

Chantal Watkinson


Home is a place where one feels the greatest sense ofbelonging, but the concept of home treads on grey borders whenthe home is itself fragmented, split, or incomplete. Personally, myhome is highly interconnected with my identity, but having spentmost of my life living as a Canadian citizen, there was an area ofmy identity that remains unknown to me. Listening to stories ofmy family’s past, I began to wonder whether the stories areactually romanticized memories strung together by feelings ofnostalgia. The alienation of immigrants in a new land can createthese sorts of rifts between the reality of the land they left and thememory they took with them of their home. These notions ofbeauty and longing found in memories and nostalgia are thethings I explore in my work.

www.thejennyluportfolio.com

(Top) Home; The Reasons We Run andWhat It Means ToStay, 2015. Multimedia.

(Middle Left) Home; The Reasons We Run andWhat It MeansTo Stay, 2015. Multimedia. Details of Shelf.

(Bottom Right) Home; The Reasons We Run andWhat ItMeans To Stay, 2015. Multimedia.

(Bottom Left) Home; The Reasons We Run andWhat ItMeans To Stay, 2015. Multimedia. Details of Sewing.

Jenny Lu


The work I make is an exploration of how I locate my ideasin the larger narrative of the world. Themes I gravitate towards inmy artwork often investigate ideologies and colonization, powerstructures, and perception. Through the realization of my art, I aimto shift the dialogue from the ‘status quo’ in order to bringattention to the subtleties and poetics that permeate societies.

(Bottom Left) Auto Ocular Vision, 2015, plumbing,mirror, tripod(Top Left) That Which is Carried with the Head/Mind,2014, video

Parminder Singh


Patricia Molina

METAPHORNICATION Series is a multimedia installationconsisting of (2) parts: interactive sculpture and video. Both partsexplore subtle (and not so subtle) forms of domination, submission andvoyeurism through a neosurrealist lens, as they manifest in everydaygestures and objects.

Two Legs You Spread Inside The Tool Shed invites viewers topeer inside a steel tool shed through peepholes featured on the side.On the shed’s exterior, to the left of its doors, is an illuminated sign witha symbol representing an alternative institution offered by the artist,which was inspired by and based on a Masonic symbol. The title, TwoLegs You Spread inside the Tool Shed is based on lyrics from a song bythe Red Hot Chili Peppers titled, “Don’t Forget Me.”

Initiation, Right? is a short, silent film that plays inside the toolshed every 30 minutes, depicting an initiation ritual and/or rite ofpassage where an esthetician, dressed as a fetishized executioner,performs a Brazilian wax on (2) subjects; their identities hidden by a reappropriated insect mask symbolizing the “hive” mentality necessary forthe propagation of institution.

In between screenings of Initiation, Right? plays an imagesequence tittled, Kiss My Conté (Love Letter to Tracey Emin) – arendidtion of Tracey Emin’s I’ve Got It All, 2000. In this case, the artistreplaces money and coins for small notes of paper with currencysymbols (including Janpanese Yen, Euros and the British pound) writtenon them using conté.

“METAPHORNICATION Series is a critique of institution from withininstitution by proposing a new institution.”

Patricia Molina

PatriciaMolina.comPatricia Molina@artandartiface for twitterPatricia Molina@artandartiface for instagram


Francesca Mendaglio

The use of repeating actions to explore the mediathemselves is a common element to my practice. This type ofgesture is used in the creation of my pieces or is an elementinherent to the found objects. This work is about the process, it’sabout time, and it’s about the repeating patterns that occur whenintuition is relied on to guide the way through a piece.

CATALOGUE COMPILATIONJenny Lu

EXHIBITION PROMOTIONAL MATERIAL&CATALOGUE COVER DESIGNJayme Spinks

FINANCIAL SUPPORTOCADU Student UnionSara

FACULTYNina LeoStan KrzyzanowskiFrancis LebouthillierKatie BethuneLeamenAdam David BrownGinette Legare

http://webspace.ocad.ca/thatwasforthis/

Toronto, Canada2015

Thank you to those who helped make thisexhibition and catalogue possible.

CATALOGUE COMPILATIONJenny Lu

EXHIBITION PROMOTIONAL MATERIAL&CATALOGUE COVER DESIGNJayme Spinks

FINANCIAL SUPPORTOCADU Student UnionSara Diamond Donation

FACULTYNina LeoStan KrzyzanowskiFrancis LebouthillierKatie BethuneLeamenAdam David BrownGinette Legare

http://webspace.ocad.ca/thatwasforthis/

Toronto, Canada2015

Thank you to those who helped make thisexhibition and catalogue possible.

that was for this 2015 ocadu scin thesis

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