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Landon Mackenzie, Tracking Athabasca “Space Station (Falls Said to Be the Largest in the Known World So far)”, (1999), acrylic on canvas

“Double Vision”: Medree MacPhee and Landon Mackenzie

Art Gallery of Greater Victoria
Thru Jun 30

Medrie MacPhee, In the Pink, (2000) vinyl polymer on canvas, photo: Tom Warren [Art Gallery of Greater Victoria, thru Jun 30]
In “Double Vision”, curator Lisa Baldissera brings together paintings by New York resident Medree MacPhee and Emily Carr Institute of Art and Design instructor Landon Mackenzie. Both artists work with symbolic imagery in ways that involve a new treatment of Canadian geography. Layers of global and virtual meaning, the detritus of automation, and a satellite view of time and memory inform the art of both women.

Medree MacPhee updates Dali with surreal hybridizations that are reminiscent of scenes from “Monster, Inc.” Her lithe and winsome cyberbodies cycle through landscapes populated with folksy objects. With their brilliant, high-key colours and clean, clear draftsmanship, her vinyl polymer illustrations have an almost magical quality.

Landon Mackenzie's vast paintings from her series “Tracking Athabaska” incorporate the kinds of denotations used to make traditional geographic maps. As if from outer space, she scrutinizes remote northern areas of Saskatchewan through networks of latitude and longitude, topographic intersections and an array of imaginary constellations. In many works, she combines historical documents like war records, charters, treaties and council minutes with the complex visual fields. Her paintings are as mentally and historically fascinating as they are visually intense.

© Mia Johnson

 Mon, Apr 1, 2002