Can You Feel Me Now

can you feel me now
julia blushak

opening reception
saturday 21 april 2-4pm

‘can you feel me now?’ began
with encounters at a local drop-in centre.
I attempted to revisit portraiture, to
visualize meeting the ‘inner’ person.
I used a model and was challenged to
reveal the authentic self, not the nice
person that one hopes to discover.
For a second series, I considered the

ubiquitous cellphone, again to portray
the person from the inside-out. Cellphone
texting certainly helps us locate each
other in time and space yet how well do
we truly engage — where is ‘presence’,
and how is ‘empathy’ realized through
bits of phrases and disembodied sharing?

jb

Reflective Energy

REFLECTIVE ENERGY
Photographs by Paul Tyson
31 March – 12 April
Opening Reception Saturday 31 March 3pm

The reflections series of photographs began in 2010 with the impressionist visual effects of sunlight reflected off water in the old part of Cordoba, Spain. Aquatic reflections continued in Costa Rica where the dappled sun, shadows, and brightly coloured tropical foliage highlighted the complexities of spontaneous natural patterns. Art often deviates from rules, showing the observer an invisible perspective. Lines and colours seen via different mediums such as metal cylinders or optical distortions are infused with the observer’s projections. The progress of this series evolved into photographing my Buddhist Thangkas through distorting optical glass blurring and bending the light spectral array. In addition, computer-imaging algorithms to create self-organizing order out of the chaotic structure of the image digitally enhanced selected pictures. The images we observe conceal our emotions, but by disturbing the spatial relationships these hidden feelings can be liberated to form intangible and mysterious ways of seeing the world.

– Paul Tyson

The Sister Act Project

The Sister Act Project
Film Screening and Performance
Wednesday 29 February, 8pm
In the Dennis Tourbin Members Gallery at NAC

Neil on the Sister Act Project:

I’ve been watching Sister Act (1992, directed by Emile Ardolino, starring Whoopi Goldberg) once every day for the month of February. It is the only television, internet, or movie entertainment I’ve been experiencing. The project culminates with a screening at NAC on Wednesday 29 February where you can join me in watching Sister Act for the last time.

This is fan art at its highest level. Well, this is fan art at some level.

The intention is to spend a month reflecting on my mindless consumption of media and my fascination with religion. I grew up in a world where limitations on consumption were relaxed and my relationship to religion could be described as a cafeteria shopper. Basically, my relationship to things I watch and religious gestures were always very shallow.

I am taking a month to reflect on these two things. I often say to people that I am not religious and I don’t tend to enjoy movies. Yet, I still keep the bible next to my bed and watch movies frequently. I love some movies and Sister Act is one of them.

Maybe my intention was to drive myself crazy or maybe my intention was to punish myself. Maybe it was to have something bizarre to talk to strangers about in bars. I had a vague idea and I wanted to run with it. I wanted to be able to write about it and by the end have a more in-depth understanding of myself.

Please join me for my final viewing of Sister Act at NAC.

Bless You All,
Sister Mary of Niagara (Neil LaPierre)

Neil LaPierre’s blog about the Sister Act Project: www.brandneilworld.com

COLOUR + LIGHT

COLOUR + LIGHT
JOHN-PHILIP PENNEY

JP is always trying to take his study of painting to new limits through experimentation.  He finds inspiration from nature, art history and theory, and personal feelings and experiences. In an attempt to master his skills as a painter JP absorbs life’s lessons and projects them into a range of approaches, taking his craft to new limits. JP executes this through a range of ultra bright to deep and moody colours in a series of abstract forms.

Model Citizen

Model Citizen
New Work by Mike Costanzo
Opening Reception Saturday 3 December 7pm
On display until Saturday 17 December

This body of work represents my interest in the history of modern propaganda, the public image, youthfulness vs. aging, nationalism vs. individualism and the illusions contained within.

– Mike Costanzo

Lost + Found: Photographs of the Rolling Stones

Lost & Found | Photographs of the Rolling Stones
By NAC Member Denis Cahill

Saturday 15 October at 7pm
Featuring a live performance by Attic Daddy

PLUS
Rolling Stones film screenings on Friday 14 October at 8pm

Lost & Found is a series of previously unseen photographs of the Rolling Stones taken in April of 1965. Denis Cahill was in a Montreal hotel room with his camera when the English language TV station CFCF interviewed the Stones. It was their first North American tour with Canadian dates in Montreal, Ottawa, Toronto, and London before heading to New York City for rehearsals for the Ed Sullivan Show.

In conjunction with this exhibit, NAC is presenting a screening of Stones films on Friday night. It’ll include the CFCF interview, Charlie is My Darling (a documentary of the 65 Stones tour of Ireland), and CS Blues (a documentary of the 72 Stones tour).

Sick Secrets

sick secrets
Laura Woermke
Saturday 1 October – Friday 14 October

Reception Satruday 1 October at 7pm

As an artist, I aim to keep the mystery alive in my work as much as possible.  This is reflected not only in the questions I ask, but also by keeping an open mind about how we can engage the work.  This honesty leads to new discoveries, new accidents, and further engagement with the questions.

My work investigates the nuances of surveillance cameras, video clips, and day time television.  Through the use of recorded still images and close-ups we see beyond what the individual is intending to communicate and glimpse secrets and private truths.  Social, political, and psychological dramas gathered from the earlier sources are now performed on the canvas or paper.

As subtle derivatives become frozen through diligent and repetitive practice, the viewer is left with a voyeuristic statement on the edges of our condition.

— Laura Woermke