Pepa Chan, “Brush” (detail), photograph, 2018, photo: Courtesy of the artist
With this ongoing performance and installation, Pepa Chan reveals how even the simplest activity can carry significance that changes for each individual. Through the act of brushing another’s hair, she explores the overlap of care and violence, trauma and healing. Visitors are invited to join Chan at various times throughout the exhibition.
This work was developed during an Elbow Room Residency, a Rooms Provincial Art Gallery program that provides Newfoundland and Labrador artists at the beginning of their careers with the opportunity to work in a dedicated studio towards an exhibition and publication.
Philippa Jones, Work in progress for “Philippa Jones: Suspended”, Mixed media, 2018, photo: Courtesy of the artist
In this immersive installation, Philippa Jones considers how we understand death – how we approach it, and how we envision what comes after. Drawings, paintings, sculpture, and interactive technology combine to create a space in which viewers can reflect upon their own ideas of loss and mourning. Originally from the United Kingdom, Philippa Jones’s artistic practice explores imagined realities and active myth making. This solo exhibition marks a significant new body of work by a nationally-celebrated St. John’s artist, and is accompanied by a publication with essays by award-winning Newfoundland author Meg Coles and Darryn Doull, Curator of Canadian Art (The Rooms).
With this new body of work, Pittman has created abstract versions of the essential building blocks of community. A wall drawing and colourful forms suspended in space suggest churches, houses, lighthouses and other historic buildings. Pittman explores how concepts of community and home are carried with us. Communities are much more than a collection structures – their significance comes from our associations and connections to the people within. This work was developed during an Elbow Room Residency, a Rooms Provincial Art Gallery program that provides Newfoundland and Labrador artists at the beginning of their careers with the opportunity to work in a dedicated studio for three months towards an exhibition and publication.
Image: Emily Pittman. Working model for Unsettled. 2018. Painted foamcore and metal hardware. Courtesy of the artist.
A ten-year retrospective of Ned Pratt’s large-scale photographic works. Pratt’s respect for the landscape of Newfoundland is the foundation for his work. His formal approach consciously undermines compositional rules to produce sophisticated and unique imagery. His approach to the act of looking transcends place, however, installing him as a significant new voice in Canadian art. With accompanying catalogue, to be released November 2018, and a national tour into 2021.
Image: Ned Pratt. New Ferry (2016). Chromogenic print. 83.82 x 117.48 cm. Courtesy of the artist.
The next installation of Truth or Myth? draws on the permanent collection to explore the changing relationship between cultural identity and food in Newfoundland and Labrador, as portrayed by artists such as Grant Boland, Martin Lyons, Derrick Pottle, Mary Pratt, and Helen Parsons Shepherd.
Grant Boland, High Class Candies, oil on canvas, 2002. Photo credit: The Rooms Provincial Art Gallery, Government of Newfoundland and Labrador Collection