Sharla Sava is a writer and university educator. She has lectured, curated exhibitions, and published a variety of articles about art after modernism, discussing the work of Robert Filliou, Antonia Hirsch, Ray Johnson, N.E. Thing Co., and Jeff Wall, among others. She completed her PhD at SFU in 2006 and is currently Assistant Professor at York University.
December 11–January 30, 1999
PaintinggnitniaP features an installation of new work by Vancouver artist Charles Rea, exploring the social and psychological implications of different institutional interiors. The mirroring and optical aspects in his paintings recall binary systems of vision and perception and the psychological uses of Rorschach images (mirrored ink blots). The institutional interiors he represents are perspectival and suggest spaces of science, knowledge and capitalism. These spaces include, amongst others, hospitals, libraries, schools and banks; spaces traditionally built, controlled and occupied by men. Although, the architectural spaces Rea represents are absent of people, they allude to the presence of a male body.
PaintinggnitniaP is the last in a series of three exhibitions dealing with architectural space and the body. The work in these solo exhibitions explore domestic and institutional space, revealing aspects of social organization and control found within these genedered systems. A publication discussing the work in this series, with essays by Lucy Hogg and Sharla Sava, will be released on the opening night of this exhibition.
October 24–December 5, 1998
Felt Histories features a computer interactive sound and video installation by Thecla Schiphorst. The proximity and touch of the viewer directs the interaction of the piece, disturbing the viewer/object relationship that is traditionally experienced in a gallery space. The site of interaction is a door frame, situated at the far end of the gallery. Within the frame, the image of a mature woman waits silently, her back to the gallery visitor. The silence in the room is echoed in the stillness of the image, and can be broken only through the visitor’s interaction at the threshold of the door frame. The door frame serves as an architectural device and reference by which our bodies are measured and contained, while the proximity and touch sensitive surface operates as a boundary and portal between public and private spaces. Schiphorst employs new technologies and architectural devices to critique ideas of embodiment and to examine spaces which have been historically determined as private and feminine.
Felt Histories is the second in a series of three exhibitions dealing with architectural space and the body. Using computer-based technology and representations of the body, the works in these solo exhibitions will explore domestic and institutional space, revealing aspects of social organization and control found within these gendered systems. A publication discussing these works will be released in December 1998, with essays by Lucy Hogg and Sharla Sava.
Cocktail Party/Catalogue Launch
JOHANNES ZITS, THECLA SCHIPHORST, CHARLES REA, LUCY HOGG, SHARLA SAVA
December 18, 1998
Cocktail Party and Catalogue Launch for publication “Altered Visions”.
Title: Altered Visions
Category: Exhibition Catalogue
Artist: Charles Rea, Thecla Schiphorst, Johannes Zits
Writers: Lucy Hogg, Sharla Sava
Editor: Jacqueline Larson
Design: Roberta Batchelor
Printer: Imprimerie Dufferin Press
Year published: 1998
Binding: Perfect Bound
Features: 19 b&w images, 10 colour images
Dimensions: 20 x 22 x 0.6 cm
Weight: 220 g
Price: $4 CDN
Features three essays examining the relationship of the body to domestic and institutional space in the solo exhibitions of Charles Rea, Thecla Schiphorst and Johannes Zits. The catalogue includes full colour images of each installation as well as the artists’ working notes and sketches prior to making the work.