Resonant Field

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Main Space/Parkade/U-Hall

Runs from January 10, 2014 to February 8, 2014

Opening reception Friday January 10, at 8:00 PM

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Artists Sylvia Matas, Warren McLachlan, and Tanya Rusnak think about nightshades, mechanical waves, optical phenomena, and unfathomable distances. They wander through fields of the in-between, while convergent forces in spaces not easily seen testify to the density of voids as generative spaces. An essential, but nebulous, question emerges: what is happening in the darkness?
In The moon is moving away from earth at a rate of about 4cm per year (2013), Sylvia Matas makes a gesture intended to span a distance that cannot be fully comprehended by sight alone. Her arm is traced on the gallery wall, a reimagining of our very first artworks: Lascaux now. It is a simple, personal act that both emphasizes and belies the distance between bodies (astral and corporeal), while measuring the intimate sensitivity of our own body to register where we end and everything else begins. Matas’ outstretched arm is a generous full extension of its own distance, but it also brings her that much closer.
The moon is but a member of a family of particles in the drawings of Tanya Rusnak. Her images are intricate, precise.
In this exhibition she presents an encyclopedic record of dust and the forces that propel it: rocks, star fields, clouds, meteor showers, and volcanic eruptions. Her drawings, accompanied by mounds of resting salt, are executed with the patience and care of a manuscript illuminator, reminding us of mystical pursuits. Several times removed from their original sources, these images approach the spectral, revealing visitors from another realm. Together, they are like a library of the unknowably far away – long past or distant future.
The darkness also includes creatures of the night. Warren McLachlan has built two bat houses, each large enough to house a small colony of Myotis Lucifugus, the brown bat. Copper clad, they double as antennas – passive receivers of incessant radio waves. There is a house for the outside, mounted on the gallery’s facade, and one for the inside. I wonder which the bats will choose, but more pressingly: what effect will a bat’s echolocation sonar have upon incoming radio waves and what effect will these waves have upon the bats? Would freak resonant frequencies allow a bat’s ear to inadvertently tune into midnight concertos?
Among other artworks in Resonant Field, these projects recognize unseen realms and the forces and desires that span them. Forms begin to emerge from the invisible when these artists look to the deep memory of the self-organizing system, the elusiveness of language, conductivity, ratios of the body, constellations, specks, calendars. Matas, McLachlan, and Rusnak create works like palindromes; they can be read in multiple directions, as ideas that begin at their own center, their outstretched hands reaching into the rich, ripe darkness.

Jason de Haan is a Canadian artist, his work has been exhibited nationally and internationally.

Sylvia Matas

Sylvia Matas is an interdisciplinary artist. She grew up in Winnipeg, and after living in China, Montreal and London, UK (where she received her MFA in 2008) she has returned home. Her work has been exhibited both locally and internationally, most recently at Plug In ICA (Winnipeg), AKA Gallery (Saskatoon), Útúrdúr (Reykjavik) and Justina M. Barnicke Gallery (Toronto).

Warren McLachlan

Warren McLachlan (born Calgary, Canada) lives and works in Vancouver, B.C. He received a Post Graduate Diploma and MA from Chelsea College of Art and Design, London UK and a BFA from Alberta College of Art and Design. Recent and Forthcoming exhibitions include: Concerning the Bodyguard, The Tetley, Leeds, UK (2014), Centenarians, Bond House Projects, London, UK 2013; Century City, ESA Warren St , London, UK.(2013), The Invitation: Propeller Island Projects@ Supermarket, Kulturhuset, Stockholm, Sweden (2011), Monday Monday, Cell Project Space, London, UK (2010); Remnant Island, Hooverville Projects, London UK (2010) The Disconcerted Concert Party, Elevator Gallery, London, UK (2010), How We May Be, Art Now: Manton Lightbox, Tate Britain, UK (2008)
Warren is a founding member of the Corbin Union Residency located in  Corbin, B.C. and is  a curator at Panel, a project space at Dynamo Arts Association in Vancouver B.C.

Tanya Rusnak

Tanya Rusnak’s art is quiet and contemplative and considers themes such as fragments, traces, ghosts, imprints, dust, memory, and other palimpsest encounters. Working predominantly through the use of anachronistic objects, uncanny settings, and an emphasis on material, the artist creates surreal or dream like display settings in which artifacts and other sensory materials are combined. Her uncanny arrangements of found objects and other materials often pay tribute to the densely layered heterogeneity of the past, inspiring appreciation for some of the myriad ways in which the structure and dynamics of memory alters over time. Drawing inspiration from the most salient forms of historical analysis, she applies a dynamic and multi-faceted approach to the retrospective mode of historiography, an alternative (and potentially more poetic) approach that includes the historical account, the archive, the act of collecting, the document, memorial and testimony. Grouping found objects with various materials and substances, Rusnak’s installations evoke both a kunstkammer and a museum collection aesthetic. Her drawings in gouache and graphite on vellum further explore these aesthetics, creating a sense of wonder over an older world.