The relationship of the twin as two separate identities of the same psyche, frame the space his drawings inhabit akin to, yet not defined by, the constituencies of polarized conventional male sexuality.

Using the familiar didactics of two dimensional language, his drawings travel off of the page and engage his subject spatially and architecturally. miguel's amplitude of images created out of sexualized narrative myth dissipate traditional notions of the modes of male representation.

Reinterpreting the overblown stylistic notions of the Baroque into a seemingly “dark” sculptural installations, he subsumes his varied conceptions of impotent leisure and hollow notions of hyper aesthetized “darkness”.

Instant Coffee
On a Stick

October 11 to November 9, 2002

Ideas are a dime a dozen and we intend to materialize them for less and faster then we can think.For their upcoming exhibition, On a Stick, at the Helen Pitt Gallery, Instant Coffee will fill the gallery with a series of their products, from prototypes to sellable multiplies. They will produce the majority of products in Vancouver by collecting found materials and ready-made objects that they will alter and incorporate into their existing product-line--Instant Coffee’s instant and not-so instant products.

For one of their featured products, Instant Coffee, in collaboration with Jon Saski, will commission a group of artists to design screensavers for a compilation disc. Now that screensavers are bordering on obsolete, Instant Coffee believes that this graphic form is the perfect medium for art making.

In the spirit of Instant Coffee, are proud to be collaborating with Centre A, Canadian Art and Subeez Cafe to present numerous events in conjunction with this exhibit.

Thurs October 17th, Instant Coffee will hold a one night screening of Concept Album: Mexican Pop Videos. The screening will be held at SUBEEZ CAFE (891 Homer St), 8pm. First shown in April 2002 at Pleasure Dome, Toronto, this program features the work of Galia Eibenschutz, Miguel Caldron, Ilian Gonzalez, Sylvia Gruner, Yoshua Okon, Renato Ornelas, Gabriel Acevedo, Ilian Gonzalez, Xavier Rodriguez, Pedro “Zulu” Gonzalez, and Ximena Cuevas.

We will host Canadian Art Magazine during their Art Hop on Sat Oct 19, 2pm. Christina Ritchie (Contemporary Art Gallery) will present on Instant Coffee’s practice and current exhibit.

This project has been developed in tandem with Centre A Gallery, where Instant Coffee founding member, Jinhan Ko, will show “Waiting Room”. The exhibition opens Tuesday October 22 at 6pm.

Andrew Dadson
Aforementioned

September 6 to October 5, 2002

Growing up in the suburbs, yet spending all my time within the city skateboarding, allowed for the creation of a mental catalogue of knowledge specific to the act of skateboarding which relies entirely on the physicality of the city. My knowledge of the urban and suburban terrain is the basis of the photographs in “Aforementioned.”

The work draws a line between opposites as they situate themselves at particular points where each asks questions of the other. There is a tension created within these polarities where one can begin to appropriate and exam the multiple uses of the cityscape and its objects. There is a pattern of polarities within the work, between the city and its outskirts, between the law and rights of access.

These patterns leave temporal traces, traces that may disappear in a matter of minutes, or a matter of years. Yet the acts that manifest these traces do not appear in the photographs as they exist in the space between the photo and the trace and function as edges themselves. And thus one arrives at the act of placing each of these photos beside the next, yet another temporal presentation of the palimpsests they represent.

Within the work of Andrew Dadson is a latent conceptual deviance that manifests itself in seemingly obvious deviant tasks. The sureness and uncompromising nature of the performative acts which appear in his work are what create the delimitations that separate him as an urban and suburban flaneur using the tools of graffiti to form his artistic practice and a way of living, from that of mere anxious social deviance.

Having exhibited work within Vancouver at The Belkin Satellite, The Western Front and the Helen Pitt, he continues to examine and reclaim a presence and exchange within the context of the city. And it is through this that he examines the license, or lack thereof, that is allowed to those who function within the urban space.

Tricia Middleton and Joel Taylor
Vampyr

June 28 to July 26, 2002

In Vampyr, a video installation framed as a futuristic set, the classic seduction between the vampire and victim is endlessly repeated.

Twin video projections, rear screen projected on paired hanging diffusion screens, are hung so as to reference portraiture as well as "futuristic" technologies such as holography. With the artists assuming the roles of vampire and victim, the projected sequences recapture the stereotypical and camp-laden gestures of the vampire film – the vampire leans in to sink its fangs, the victim recoils – in a minimalist treatment of 1920's German cinema combined with a certain melodramatic excess.

culptural elements include a large transparent plastic sphere and a miniature mountain range, suggesting the gothic and the sublime, the sublime and the ridiculous. Vampyr combines a comedic irony with the nevertheless still charged figure of the vampire, who often stands in for the spectres of a feudal aristocracy, the racial, cultural and sexual other, any number of diverse parasitic oppressions and capital itself.

Tricia Middleton and Joel Taylor have worked together since 1998, collaborating in the production of short films and of installation and single channel video works.

Jen Weih
Open

May 31 to June 26, 2002

Open is a lounge. It is an interactive, mixed media installation that includes sculpture, video, and sound. The lounge is informed by an examination of value and cost and of labour and reward.

It is a decadent space for relaxation and social interaction that has been created with cheap and found materials. The process of creation has been one of careful examination of the artist's material, intellectual and psychological environment.

It is an attempt to become aware of and critically engage both personal and popular assumptions regarding art and audience, process and creativity, social experience and being. Tea and refreshments will be served on Thursday and Friday evenings.
You re invited to attend.

Michael Gauley
Panaramarama


April 20 to May 25, 2002

Panaramarama Installation of paintings and Sculpture Work relays sensory overload and relates to feelings of alienation in an increasingly confusing society. Installation of paintings and sculpture work relays sensory overload and relates to feelings of alienation in an increasingly confusing society. Works included grafitied record albums, Bin Laden maze game and a taxidermied bear cub converted into a beer cooler.

Completion of Architecture Series
Wreck Room – Exchange with Art System, Toronto Ont.

March 22 to April 20, 2002

Juxtaposing work from Pitt membership and pieces curated by Art System, this show brought together work that used common materials as a means for sculptural statement of the twisted and fragmented meanings found in a landscape of familiar objects. Art System – Derek Sullivan, LuLu de L'Amour, Ken Ogawa, Rasool Sarangi, Brad Phillips, Jennifer Marman, Andrew Pommier, Keith Dugany, Jason van Horne, Daniel Borins, Matt Brown, Ingrid Z, Zoe Stonyk, Scott McGovern, Nick Denboer, Aleks Ognjanovich, Matthew Bennett, Tasman Richardson Curated by Daniel Borins and Jewbel Brown Helen Pitt – Mulitun Gibash, Althea Thauberger, Carly Haddon, Paul Lang, Jason Fitzpatrick, James Whitman, Jen Weih, Natasha McHardy, Tricia Middleton and Joel Taylor, Igor Santizo, Shyla Seller, Tommy LaCroix, 536, Attila Richard Lukacs, Jill Henderson, Eli Langer

-- Curated by Lee Plested

Tim van Wijk
Right of Way

February 15 to March 16, 2002

Installation of 4 modular transmission towers along a contoured right of way. Relates how the hydroelectric dam and its transmission towers arbitrarily and drastically alters the landscape. Curated by Rebecca Watt.

Jill Henderson
Commune

Jan 11 - Feb 9, 2002

Naive architectural sculptures and drawings were installed on a makeshift drafting table and pinned to the walls. Small Play–doh like blocks with eyes look out as they cling to hidden areas of the gallery and project back to us an unexpected humanity. Wall drawings included the enemies of the square, a futuristic rehab complex and a list of the top 10 art things to make $$$ from.

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