For this four-part, multi-venue exhibition, curators Amy Kazymerchyk and Melanie OBrian have gathered a range of artists in an effort to lay bare approaches to the acquisition of knowledge in the full mind-body-spirit sense of intelligence. Most of these approaches tactics of fieldwork, embodiment and materiality are evident; others are fleshed out through artist talks.
Part 3 of Geometry of Knowing is a curious mix that includes works by Black Mountain colourist Josef Albers, mid-century Vancouver painter and designer B.C. Binning, and younger artists such as Kika Thorne, whose latest sculpture, The Question of a Hunch (2015), extends her ongoing interest in geometry, the visible spectrum and magnetism as a field upon which to project questions regarding chemical composition and its political ramifications.
Thornes work is timely given the recent interest in the lives of inanimate objects. In political theorist Jane Bennetts 2009 book, Vibrant Matter: A Political Ecology of Things, the author writes of a vital materiality that passes through both the observant body and the object under view.