(un)resolving liminality // Aly K. Benson

'(un)resolving liminality', an interpretive essay on Jordan Hill’s exhibition, The Missing Distance, written by Aly K. Benson.

In an evergrowing world, with each passing chance for advances to take over, we as a people expand our abilities, and our minds have no option but to choose a narrowed lane of focus. To better state, yet paradoxically: as the world gets bigger, it gets smaller.

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THE ALGORITHM // Heather Savard

“Maybe we should stop trying to understand the world and instead trust the wisdom of algorithms”

(Megan O’Gieblyn, 2024, pg. 100) 

CGish amalgamates the digital with the analog, using custom generative algorithms to splice together objects into perplexing, yet believable, forms. Heather Savard, writes on the state of AI and the future of art.

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Melt Down a Little // Karis Dimas-Lehndorf

Michaela brings her own diasporic Afro-Carribean heritage forward with such sincerity. The scents in the salves of hair picks also pull from the landscapes of Kelowna. Patchouli, fir, and charcoal mix with black pepper, allspice, and shea butter. Scent mimics self as an olfactory Blackness is brought into this space.

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The Prosperity Poems of Erin Scott’s Mouth-Shroud in '9/3' // Norah Bowman

Who gets to gaze upon whom, for what, for how long, and under which conditions? Can I look at your face as long as I desire? Can I see your wet mouth parting and closing and parting and closing? Can I watch your children fly above your private trampoline? Can I stare? I don’t know you and you don’t know me - what gaze is safe?

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Contemplation on Natasha Harvey’s Exhibit // Norah Bowman

Natasha Harvey’s exhibit of five works expresses the desire and sorrow of her lifelong relationship with the unceded land of the Syilx Okanagan territory. A mixture of acrylic painting, spray paint, collage of found building materials, linocut print, drawing, and photography, her layered, complex, airy canvases create a ghostly landscape of lost forests, half-built wooden houses, patchy snow, torn fences, and oversized undergrowth.

Rather than romanticising houses in the woods, these works draw attention to the vulgarity of wooden houses built over the scraps of a razed forest. Rather than hiding the process of clear-cutting, excavation, and construction, Harvey’s compositions seem to peel the skin from the body of built suburbia, showing the violence of ongoing colonial land capture. 

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Weaving Together // Reflections on Weaving Sustainability and Artistic Practice // Twyla Exner

As an adult, my art practice has evolved out of an interest in nature, a sense of conflict over contributing further objects and materials into a culture of “too much”, a sensibility to use what is around me, an innate desire to make, and a belief that investing energy and care into materials is deeply meaningful.

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