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Sean Weisgerber: Electric Mud

September 4, 2015 -  October 11, 2014

Opens Thurs, Sept 4, 2014, 7-9 p.m.
Artist in attendance

Hours: Tu 6-9 p.m., Sa 1-5 p.m.

Wil Aballe Art Projects is proud to present Electric Mud, Sean Weisgerber’s second solo exhibition at WAAP. His first exhibition, After I Shed My Skin, unveiled a direction that explored the possibilities of paint as material. This previous series of monochromatic grey dipped works were installed in tense relation to the architecture while considering the domestic aspect of the gallery as apartment.

In Electric Mud, six new works showcase Weisgerber’s continued engagement in this process-driven direction while introducing new elements, such as colour, that bring these works into a broader discussion of contemporary abstract painting. His work still explores materiality as subject, driven from an interest in dissecting things to explore their structure and skin, and how they intersect. Situated at the axis of painting, sculpture, and installation, Weisgerber’s work seamlessly crosses disciplines. It culls through histories and collects fragments along the way. These specters flutter in and out, and collide to create works that are imprinted with the past and the personal.

Weisgerber’s specific choice of materials and processes are filtered through his own sensibilities while at the same time taking into consideration the history of abstraction. Minimalist and Process Art carry the most weight in these new works. Weisgerber is interested in artists such as Eva Hesse, Richard Serra, Roxy Paine, and Neil Campbell, among others. Recently, many contemporary artists within Canada are engaged in labour intensive processes and materiality, which links Weisgerber’s practice to several artists in Toronto and Vancouver.




Sky Goodden: Art Criticism in Canada

September 3, 2014

Burrard Arts Foundation
108 East Broadway
Vancouver V5T 1V9

Talk and panel: Wednesday, September 3rd, 2014, 6 p.m.

Sky Goodden presents a lecture on art publishing at a crucial moment, when its tone and presentation are undergoing significant renovations. She delivers a brief survey of art criticism in Canada and its impact on various conversations in our art history and current production, while bringing a focus to the pluralities of the genre’s contemporary moment. She profiles criticism’s latest incarnation in new media, and examines its potential value within a perpetually-shifting field. Goodden will then open the discussion up to a panel of West-Coast writers and publishers to survey the strengths and weaknesses of art criticism and publishing on the West Coast.

After working at the helm of the popular online art publication BLOUIN ARTINFO Canada, and as she prepares to launch the international online art publication, MOMUS, Goodden is uniquely positioned to speak on the subject of art criticism and its changing platforms, audiences, and relevance.