Shary Boyle and Emily Vey Duke: The Illuminations Project
Shary Boyle and Emily Vey Duke
With an Introduction by Jon Davies
The Illuminations Project is a decade-long collaboration between two artists, feminists and friends. Shary Boyle and Emily Vey Duke's visionary call-and-response artwork forges connections between drawing and writing to create an exquisitely rendered road map through the chaos of growing up female, fearless and hungry for meaning. Looking for an alternative to the convention in which images illustrate texts and texts explicate images, the artists developed a more associative method of combining words and pictures based upon a long-distance correspondence between 2003 and 2010. Half of Boyle’s drawings were developed in response to Duke’s poems, and vice versa. In both cases, the responding artist used the other’s work as a point of departure rather than a directive. Printed in its entirety, The Illuminations Project assumes an epic structure, embracing free-form ideas as readily as the drive for narrative momentum. The project loosely charts the journey of a character named Bloodie, a young girl who travels across fantastical lands populated by all manner of creature - human, animal and otherwise. Drawing on philosophy, religion and myths alike, the tale that unfolds speaks potently to the freedoms and dangers of the wild, the nature of power and desire, and the brutalities of contemporary life. Shary Boyle works across diverse media, including ceramics, sculpture, painting, installation and drawing. Her work has been widely exhibited at, most notably, the Institute of Contemporary Art Philadelphia, University of California San Diego, ICA Boston and the National Gallery of Canada. Shary Boyle represented Canada at the 55th Venice Biennial. Emily Vey Duke has been working collaboratively with Cooper Battersby since1994. In 2010 they were awarded the Ken Burns Award for the Best of Festival at the Ann Arbor Film Festival and short-listed for the Sobey Art Award. Emily Vey Duke teaches at the College of Visual & Performing Arts, Syracuse University, New York.The Illuminations Project was shown for the first time in 2011 at the Institute of Contemporary Art at the University of Pennsylvania.
Oakville Galleries (04/2016) 96 pp 40 col. ill. 12.25 x 10.25 in hardcover 9781894707367 $30.00 Can. $35.00 U.S.
Marla Hlady: Rooms and Walls
Marnie Fleming, Martin Arnold and John Massier
The multidisciplinary practice of Toronto-based artist Marla Hlady is characterized by playful explorations into the mechanics and expressive possibilities of structure and sound. This publication documents new work inspired by the acoustic nature of the gallery itself which was once a private residence. By constructing three-dimensional scale models of each room in the building, Hlady provides visible analogies for the gallery’s architecture that also serve as “sound objects,” emitting recordings of each space’s unique tones. Published with Hallwalls Contemporary Art Center, Buffallo New York.
Oakville Galleries (01/2013) 80 pp 40 col. ill. 8 x 5 in softcover 978-1-894707-35-0 $18.00 Can. $20.00 U.S.
Silent As Glue: Lynda Gammon, Matt Harle, Elspeth Pratt
Micah Lexier & Kathleen Ritter
Publication devoted to he materially rich work of Lynda Gammon (Victoria BC), Matt Harle (Beacon NY) and Elspeth Pratt (Vancouver BC). These artists' sculptures – comprised of a variety of materials including concrete, fabric, cardboard, photographs, paint, tape, plastic, foam, vinyl, and metal – forego common usage of materials to question ideas of value and permanence associated with traditional sculpture, while at the same time negotiating the line between abstraction and representation.
Oakville Galleries (06/2010) 64 pp 64 pp col. ill. 9 x 7 in hardcover 978-1-894707-33-6 $25.00 Can. $28.95 U.S.
Inhabiting: The Works of Isabelle Hayeur / Habiter : Les uvres d'Isabelle Hayeur
Each photographic work by Isabelle Hayeur incorporates several images, using software to form an apparently seamless representation. Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs. Isabelle Hayeur has exhibited, most notably, at Mass MoCA and Musée d'art contemporain de Montréal. Co-published with the Musée national des beaux-arts du Québec. In English and French.
Oakville Galleries (07/2006) 48 pp 16 col. ill. 11.5 x 10.5 in Hardcover ISBN: 1-894707-24-9 $35.00
Su Ditta & Sara Diamond
David Rokeby is at the forefront of artists shaping the future of new media arts. By using the computer in ways that are innovative and engaged he has produced an internationally acclaimed body of work that explores issues of vision, meaning, archiving and memory. Two essays accompany a presentation of Rokeby's major works from the early 1990s to today. A CD Rom contains excerpts from 9 works, including Seen, Rokeby's contribution to the Venice Biennlal 2001, 8th International Architecture exhibition. Rokeby will represent Canada at the XXVI São Paulo Bienal in the Fall of 2004.
Oakville Galleries (2004) 88 pp 33 col. ill. 10 x 6.5 in. hardcover 1-89470721-4 $40.00 Can./U.S.
Roy Arden: Selected Works 1985 - 2000
Marnie Fleming and Shep Steiner
Long admired for his activist stance, Arden's unrelenting depiction of the rapidity of economic change in British Columbia and its human costs (what he calls "The Landscape of Economy") has fostered an international reputation in both artistic and environmentalist circles. As Fleming notes, Arden's practice is ".. a case study on the way in which the reality of one's backyard can be a valid laboratory or art-making; one that has global resonance, while based in the realm of lived experience." But as Fleming and Steiner amply show, Arden is not a photo-journalist. His genius reveals itself through the way he takes the documentary tradition and imbues it with fiction, poetry and drama. His pictures embody otherwise contradictory concepts of the literal and the figural, the political and the poetic, and the ethical and the aesthetic. Pictures like Pulp Mill Dump, Nanaimo B.C. are reminiscent of Robert Smithson and Landfill B.C. invokes the wastelands of Antonioni and Robert Adams. "Through this work I have sought to explore and articulate a realism which is informed by my understanding of tradition. I have drawn on artists as diverse as Dürer, Kobke, Atget, Walker Evans, Robert Smithson and Pasolini," Roy Arden.
Oakville Galleries (2002) 48 pages, 15 ill. (10 col.) 9x10 in. hardcover 1894707079 $35.00 Can. / $29.00 U.S.
Donald Lloyd McKinley: A Studio Practice in Furniture
Karen R. White
Furnituremaker and designer, Donald Lloyd McKinley (1932-1998) worked on the cusp of change in the field. Strongly inspired by the Bauhaus school in which artists and architects worked together towards the common goal of societal development, McKinley strived to combine art, craft and architecture based on a sound sense of form and colour. In a life devoted to teaching and with few commissions or patrons in his career, McKinley was free to follow a self-directed path which fostered experimentation and innovation. The body of his lifelong work, presented here, was indeed a studio practice. Born in Oklahoma, Donald Lloyd McKinley studied at the Ateneum in Helsinki as a Fulbright Scholar and then at Syracuse University earning a Masters of Industrial Design. In 1967 he moved to Oakville Ontario to set up and direct Sheriden College's School of Crafts and Design.
Oakville Galleries (2001) 48 pages, 14 ill. (4 col.) 9.5x6.5 in., 0921027990 softcover $15.00 (Can./U.S.)
Aporia: A Book of Landscapes
A book work by the artist.
Oakville Galleries (1995) 324 pp 287 bw ill. 23 x 17 cm softcover (with velum dustjacket) 978-0-921027-55-3 $45.00 Can./U.S.