Monte Clark
53 Dunlevy Avenue V6A3A3 Vancouver, BC, Canada

Vilhelm Sundin’s exhibition explores the intersection between photography and cinema, and their places in the contemporary visual domain. His new body of work examines contradictions of looking outwards (observing public space), and inwards (memories and imagination), both of which are relevant in a time of confined experiences. In this show, street photography is met with purely simulated lens-based works, setting an ambiguous tone towards documentation and imagination.... Sundin’s work is concerned about the experience of the present and offers reflections on being alive in a time of constant technological acceleration. Utilizing some of the most current visual tools available to portray universal stories of solitude, imagination and distant human connections, he aims to create works in both a timeless and contemporary domain. Using sound, computer-generated graphics, and traditional lens-based media, the show exists somewhere between reality and simulation, stillness and motion while displaying narratives of the everyday. is an exhibition supported by Capture Photography Festival Link in bio to online viewing room

In 1880, Edouard Manet, then 49 and dying, created 16 small paintings of flowerseach still life was selected from his cutting garden. It is here that Karin Bubaš has drawn her inspiration for her latest body of work, Fleurs. This series of three-dimensional photographs begins with Bubaš creating a simple flower arrangement using common vases. The photographed image is then made into multiple prints, laser cut and reconstructed into the three-dimensional pictures, building up layer upon layer of intricate details. The final result is a three-dimensional photograph or paper tole. The pictures are dense and mesmerizing, but also suggest a tone of simplicityBubaš’s skill for conveying narrative is reality apparent.

Roy Arden’s cyanotypes on paper, use different techniques of emulsion coating, developing, bleaching and toning. This body of photogram prints focuses on plant roots and small objects seen as if underground by an archaeologist’s or metal detectorist’s mind’s eye. Roots collected along West Coast beaches leave their silhouettes of lightning-like growth patterns: we see the will of the tendrils pushing downward and then changing direction in reaction to resistance. Some of these works show tiny metal objects entangled in the root forms making these depictions not of nature but of the Anthropocene. The hanging assemblages again depict the underworld the viewer finds themselves beneath gnarled roots, stones, and rusty fragments. All of the works hover between depiction and allegory. Link in bio to online viewing room

Stephen Waddell Chain Carousel, 2007 archival pigment print 37 x 56 in

Monte Clark is pleased to present an Online Viewing room for In It a collection of seven new paintings from Collin Johanson. The title suggests precarity, busyness, and the struggle to maintain a balance between multiple spheres (professional, practical, and personal). To suggest we are ‘in it’ also suggests that we can easily be out of it, or fall off balance. Instability keeps these images in flux, resisting easy interpretation. Showing us the beauty that can transpire... when we approach things in unpremeditated fashion. (Viewing room link is located in our bio)

From GalleriesWest: "Vancouver's Stephen Waddell brings an interest in art history to his work as a photographer, often capturing images that make subtle references to canonic paintings. As the winner of the prestigious $50,000 Scotiabank Photography Award, he exhibited this fall at the Ryerson Image Centre in Toronto and also received a deal with Steidl, one of the world's top photography book publishers. Waddell, represented in Vancouver by the Monte Clark Gallery, discusses his latest work and the publishing process in this video by Mark Mushet." https://www.gallerieswest.ca//videos/video-stephen-waddell/

Monte Clark is pleased to present two new exhibitions in our online viewing rooms, viewing.monteclarkgallery.com: Selected works from Stephen Waddell's Scotiabank Photography Award catalogue, co-published by Steidl; and Greg Girard: Trip Pictures. Stephen Waddell creates photographs that transcend the typical treatment of the medium. Though his scenes are often un-staged, captured spontaneously, and seem to present impromptu subject matter, Waddell’s framing, composition,... colour, and lighting are far more akin to meticulous historical paintings than off-the-cuff photographs. Image: Stephen Waddell, Autumn, 2001/2020, 59 x 39 inches From the earliest stages of his photographic career, Greg Girard has traveled extensively to work on various projects and assignments across the globe. He is known for capturing the expansive transformations of cities, life on military bases, as well as neon-glowing night scenes that present a palette distinctly his own. In between his project-based and assignment work, Girard spends a substantial amount of time in hotels and on airplanes, and over the years he has taken many images that depict his ongoing, often solitary travels. Image: Greg Girard, 3:50am, Hotel Room, Okinawa, 1982/2020, 20 x 30 inches See more

Colleen Heslin Infra/Ultra, 2020 Ink and dye on sewn canvas 88 x 85 inches ... From Colleen Heslin: In the Dark at Monte Clark Gallery through November 28, 2020. 53 Dunlevy Avenue, Vancouver or in our online viewing room at viewing.monteclarkgallery.com (link in bio). We observe COVID protocols. See more

Jeremy Hof XXL Multi 1, 2020 Acrylic paint on paper 61 x 47 x 7.25 inches ... From Jeremy Hof: Replicante at Monte Clark through November 28, 2020 In XXL Multi I, Hof uses paper as a substrate, composing a thick painting slowly built up from flat layers of acrylic paint. As the multiple colours accumulate into a sculptural forma hyperbolic gesture of mark makingthe original support becomes redundant, and its shrinking, undulating edges buckle under the weight of the paint, comically illustrating the tragic failure of its intended purpose. Hof's exhibition is available in our online viewing room, viewing.monteclarkgallery.com or in person at 53 Dunlevy Avenue, Vancouver. We observe COVID protocols. See more

Colleen Heslin’s latest works look at relationships between light and dark with full spectrum colour. Circular forms and mirroring patterns re-occur within abstract compositions, symbolically referencing generative progressions of open cycles from the micro scale of a seed to the macro space of planetary cycles. Within these open and expanding forms, reflections mirror and morph as they extend from centres to exterior edges. Colleen Heslin In the Dark Through November 28, 202...0 The exhibition is available at @art_toronto, viewing.monteclarkgallery.com, or in person at Monte Clark, 53 Dunlevy Avenue, Vancouver. We observe Covid 19 protocols.

"Stephen Waddell and Visualizing the World" from the National Gallery of Canada's magazine: https://www.gallery.ca//stephen-waddell-and-visualizing-th

Today is the first official day of Art Toronto! Colleen Heslin's exhibition In the Dark is now on at Monte Clark at 53 Dunlevy Avenue, Vancouver, and available for virtual preview today through Art Toronto's ticketed event to benefit the @agotoronto. See @art_toronto’s site to view the entire schedule for the fair, including VIP preview and public fair days. Thank you to Leah Sandals and Canadian Art for including Colleen Heslin's exhibition in their feature What to See at... Art Toronto’s First Online Fair. Read an excerpt below, and the full article on canadianart.ca. "For 'In the Dark,' Colleen Heslin’s solo project with Monte Clark Gallery (Vancouver), the Powell River artist uses a dusky palette for stitched textiles. One wall work sews swaths of grey, coal, dust, iron and flintwaves of night nipped by grotto zones prismed mint, mustard, cobalt, rust; wine, calendula, chicory, sea; sand, splinter, cedar and salal. It’s all very natural as a 2020 mood board, but I can’t stop pinning Heslin’s elegant abstractions onto another kind of contemporary backing: glitch design. But where glitch implies something quick, techy and digital, Heslin’s processlike that of Angela Teng or Rebecca Brewer, two other BC artists I admireis slow, analog and material. There are, though, aspects to Heslin’s practice I can appreciate fully online from a distance: her project The Last Woman Standing: An open letter to the British Museum documents an (eventually successful) request for the British Museum to change a wall text which had described a ancient Assyrian female figure as unflattering. Also, on her Instagram, Heslin’s calm pictures of drying, just-dyed fabrics, spread out amid large Douglas firs, serve as COVID-era balm. And in those images, you know, a sun still kind of shines." Leah Sandals Image: Colleen Heslin , 2020 Ink and dye on sewn canvas 78 x 88 inches See more

Opening soon at @dortmunderkunstverein: ALISON YIP BARE HEEL COUNTRY ... OCTOBER 31, 2020 to 24 JANUARY, 2021 Opening: October 30, 7 PM The works of Alison Yip negotiate the role of fantasy in a post-truth world and often m enlist parapsychological origins of m figuration. A practice built up from painting, she also uses wall treatments, texts and sculptural objects to explore the dispersed nature of our sensory apparatus and plays with the role of ambivalence in how we perceive social relations. Moving between a kind of world-building and surface attention, the paintings at times integrate familiar materials such as distressed denim, which speak to the mimicry of time and experience. Dortmunder Kunstverein is pleased to present a new body of work by Alison Yip which links her occupation with pain, l imagination, and somatic experience to a reflection on the six-part medieval allegorical tapestry, ‘The Lady And The Unicorn’, which hangs at Musée de Cluny l in Paris. Yip explores the exhausted remnants of the female and unicorn as long-standing figures of doubt, posing them as actors in BARE HEEL COUNTRY, her first institutional solo exhibition. See more