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Jeannie Thib, The Model

Jeannie Thib, The Model (date), Carrara marble, acrylic vitrine wood paint [Charles H. Scott Gallery, Vancouver BC, Feb 26-Apr 20]

Jeannie Thib: Hyperflat

Charles H. Scott Gallery
Vancouver BC – Feb 26-Apr 20, 2014

Jeannie Thib, The Expanded Field

Jeannie Thib, The Expanded Field (2012), screen printed cut and dyed plywood, platform and legs [Charles H. Scott Gallery, Vancouver BC, Feb 26-Apr 20]

Among the hallmarks of modernism, it is the rectilinear grid that most of us live by. The architecture of our homes, the streets we walk down, the phones we hold in our hand are all things that break at right angles. Much of what does not conform to this system (transportation aerodynamics aside) is often regarded as ornamental and, by extension, impractical.

Throughout her short life, Ontario artist Jeannie Thib has challenged the grid through works that measure our earthly presence less through rational projections than through the shapes our bodies take. People familiar with her oeuvre will recall her hand-sewn kozo paper gloves, which carry her drawings and texts. For this survey exhibition, Hyperflat, which originated at St. Mary’s University Art Gallery under curator Tila Kellman, the emphasis is on Thib’s more recent work.

Included are a series of sculptures where the artist has taken designs associated with domestic space and, through the use of industrial materials, represented them in three-dimensional form. Powder-coated aluminum works such as Range (2008) and Link (2008) provide alternative systems of formal connectivity. Softer though no less fulsome forms include the felted Shift (2004), which finds in damask tablecloth design the union of culture and nature.


Michael Turner

 Sun, Apr 6, 2014