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Operated by the Calgary Contemporary Arts Society Current Exhibit: November 12, 2004 - January 8, 2005 |
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Migrations
in the Third Dimension: Works
by:
Despite
the apparent differences
Caterina
Pizanias, Ph.D. Works on Display:
List of Images:
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A
few years ago we began an attempt to establish a creative bridge
between two active, artistic communities: those of Calgary and of
the Cycladic island of Tinos. "Migrations in the Third Dimension:
Tradition and Innovation in Canada and the Cyclades" is the
outcome. As all ambitious and inaugural attempts go, it has not
been without its surprises and tribulations. However, in its core
objective to create an artistic bridge it has been a resounding
success.
between
the cultures, there are many socio-aesthetic commonalities between
Canada and Greece that helped me foster a succesful connection and
interaction between the two artistic communities. Both Canada and
Greece became independent nations during the nineteenth century;
both counties had the 
"canons"
of fine arts production, evaluation, and distribution imported primarily
from England, France, Germany, and others to a lesser degree. Since
then both countries have been "negotiating" this "import"
in their efforts to create a contemporary artistic tradition that
is representative of their respective nations yet in step with the
international world of art.
The
geographic "topos" of Alberta and the Aegean Sea have affected
approaches to the effects of "light" and its aesthetic negotiations
in sculpture and painting in both countries. The "flatness"
of the prairie in Alberta affects artists in similar ways as the
expanse of Homer's "wine dark sea" does in Greece. Further,
Greece as an 
originary
aesthetic "topos" has played an important role (directly through
visits, and indirectly through training) in the formative years
of all the artists proposed for this exhibit. 
Because
of these commonalities, and especially because of the centrality
of Greek art in the training of artists in Canada, I asked our participating
artists to create work that would be within the aesthetic parameters
of a larger "modernism" and their understanding/response
to 
Greek
art either via specific schools, materials used, or any other convergent
points. Their response came via various means: Ray Arnatt through
a direct dialogue with Hellenistic art, Isla Burns and Katie Ohe
through their "take" of the 
spiritual
roots of the island of Tinos; Reinhard Skoracki through the anthropocentrism
of his work, and Honsun Chu through his masterful use of marble.
Petros Dellatolas brought us the millennia-old skills of Tiniot
craftsmanship in the form of classical modernist art. The dialogue
has started, and the works are truly a delight to behold.
This
first effort at "migrating" to the Aegean and back has been
dedicated to the life and work of Ray Arnatt. Ray passed away on
July 3, 2004, two months before our journey to Greece, but he continues
to travel with us in spirit.
