Hamidreza Jadid

Winter, 2018

Hamidreza Jadid

The Griffin is excited to welcome Vancouver-based artist Hamidreza Jadid to our Artist-in-Residence program from February to April. Jadid works in painting, sculpture and installation, and recently received his Masters in Fine Arts from the School for the Contemporary Arts, SFU. His work addressees his long-term conceptual dialogue with memory and history, exploring elements of Islamic culture and architecture as metaphors to address the central themes of religion and history. Through references to the history of Persian mysticism and its literary tradition, which meld romance and eroticism, Jadid looks to develop a political aesthetic of metaphor as the basis for his reflections on the contemporary situation of Iranian politics and culture.

Rachelle Sawatsky

Fall, 2017

Rachelle Sawatsky

Rachelle Sawatsky is an artist and writer based in Los Angeles. Her work encompasses painting, writing, ceramics and drawing. Moving between figure and field, material and medium, Sawatsky negotiates the tensions inherent in creating images to realize an art that explores histories of making within a contemporary, expressive project.

Rachelle Sawatsky has an MFA from University of Southern California in Los Angeles (2013) and a BFA from Emily Carr Institute of Art and Design in Vancouver (2005). Sawatsky has been included in group exhibitions at the Tate St. Ives, Galerie Mezzanine, Vienna, Presentation House, Vancouver and most recently as part of Ambivalent Pleasures at the Vancouver Art Gallery. Since moving to Los Angeles, Sawatsky has presented solo exhibitions at China Art Objects, Artist Curated Projects, and Harmony Murphy Gallery. Her work has been written about in Artforum, Frieze, C Magazine, Art Review and the LA Times.

Kate Mosher Hall

Fall, 2017

Kate Mosher Hall

Kate Mosher Hall (b.1986) is an interdisciplinary artist whose practice ranges from printmaking, painting, sculpture, performance, ceramics and drumming. Hall’s practice is concerned with language and its slippages, specifically relating to trauma and self-representation.

Hall has shown work and performed in Los Angeles at MOCA Grand, the Getty Museum, Human Resources, 356 Mission, Roberts and Tilton, Arturo Bandini, and Phil Gallery. She has also participated in exhibitions at the New Museum, New York, 67 Ludlow, New York, Marfa Ballroom, Texas, and will be in an upcoming exhibition at Cirrus Gallery, Los Angeles. Kate’s 1st book I Did but I Don’t Anymore was released on Hesse Press in 2015.

Michael Turner

October, 2017

We are happy to welcome as an Artist in Residence, Vancouver based writer, curator and cultural producer Michael Turner. His residency will run through the fall of 2017.

“I always say that you cannot tell what a picture really is or what an object really is until you dust it every day…” ― Gertrude Stein, The Autobiography of Alice B. Toklas

Two years ago, while in the midst of a Baudelairian crisis that had me looking to get anywhere out of the world, I saw an advertisement for a reasonably priced 1973 Airstream trailer. The owner said the trailer was in good working condition; all it needed was a good clean. Fortunately for me this turned out to be the case.

“After moving the trailer to a friend’s ranch, I began to clean it, and in cleaning it I came to appreciate the genius of the Airstream design, a design that owes as much to consultations with homemakers as it does with engineers. But as much as I learned about this trailer from cleaning it, I also learned that I am not a very good cleaner. “You’re neat, but not clean,” I was told by a friend who helped out with some renovations. This, too, had a profound effect on me.

When Griffin Art Projects invited me to propose a residency, I asked if I could use the gallery as a training ground and work under a professional cleaner. While I am under no illusions that I will learn more about the gallery by cleaning it, I am hoping to learn what it is to clean a space and clean it well – beyond what appears before me.” - Michael Turner

Michael Turner is a Vancouver-based writer of fiction, criticism and song. His books include Hard Core Logo (1993), The Pornographer’s Poem (1999), Fred Herzog: Vancouver Photographs (with Grant Arnold) (2007) and 8x10 (2009), while reviews and features have appeared in magazines and journals such as Art 21, Canadian Art, Mousse and Modern Painters. He has contributed essays to anthologies Intertidal: Vancouver Art and Artists (Belkin Gallery/MuHKA, 2006), Vancouver Art & Economies (Artspeak, 2007), Ruins in Process: Vancouver Art in the Sixties (Belkin, 2009), and to exhibition catalogues on the work of artists such as Janet Cardiff & George Bures Miller, Brian Jungen and Ken Lum. Curatorial projects include “to show, to give, to make it be there”: Expanded Literary Practices in Vancouver, 1954-1969 (SFU Galleries, 2010); Letters: Michael Morris and Concrete Poetry (Belkin, 2012), with Scott Watson; A Postcard from Victoria (AGGV, 2013); and Mainstreeters: Taking Advantage, 1972-1982 (PHG/Satellite, 2015), with Allison Collins.

Scott Treleaven

September, 2017

Scott Treleaven

Through the months of August and September, we have had the pleasure to host Scott Treleaven in our residency program. During his time in North Vancouver, Scott has been developing a new zine, consisting of torn and reconfigured photographic material and texts, which will be published by Griffin Art Projects.

Celebrated for his deeply poetic still and moving images, Treleaven‘s paintings are heavily informed by his early filmmaking career, as well as his work in other media spanning collage, sculpture, photography, and publishing. His seminal zines have been included in historical overviews such as ‘The Magazine &#150 Documents of Contemporary Art Series’ (MIT Press 2016), ‘Showboat: Punk, Sex, Bodies’ (Dashwood 2016), and ‘In Numbers: Serial Publications by Artists Since 1955’ )JRP|Ringier 2009). Treleaven has presented recent solo exhibitions at Invisible-Exports, New York, COOPER COLE, Toronto, Canada and The Suburban, Milwaukee, USA (June 2017), among others. He has also participated in group exhibitions at Grazer Kunstverein, Austria, Contemporary Arts Museum, Houston, ICA, Philadelphia, MoMa PS1, NY, The Warhol Museum PA, Witte de With, Rotterdam, Netherlands, Palais de Tokyo, Paris, France, and the British Film Institute, London UK.

Paul P.

July, 2017

Paul P.

We are excited to welcome Paul P. as our summer Artist in Residence. Paul will be working with gallery director Lee Plested and Toronto based curator Rui Mateus Amaral to reconfigure his exhibition which originated at Scrap Metal, Toronto, and will open at Griffin Art Projects on September 22, 2017.

Paul P. (1977, Canada) came to international attention in 2003 for his drawings and paintings of young men that systematically re-imagined found erotic photographs along nineteenth century aesthetic modes. In recent years the artist’s interests in transience, desire, cataloging, notation and repeat observation has expanded to include evocative landscapes and their abstraction, often created en plain air.

This upcoming exhibition will also include drawings of sculptures within museums and sculptural works in the form of furniture. Paul P.’s work was included in the 2014 Whitney Biennial, as well as in group exhibitions around the world including MoMA, New York, and the Freud Museum, London. His work has been collected by MoMA, LACMA, The Brooklyn Museum, SFMoMA, and The Whitney, among others.

Michael Bauer

April, 2017

Michael Bauer

Griffin Art Projects is pleased to welcome our spring artist in residence, New York based painter Michael Bauer, who will be working here in the studio through the middle of May. We will present a public conversation with Michael Bauer and GAP Director Lee Plested on Saturday, April 22, 3pm.

The uncertain and the uncanny often act as organizing devices in the paintings of Michael Bauer. Like the writing of George Bataille, his image systems utilize the ghoulish and discarded to float as defiant signifiers which are set loose to negotiate fields of defecated smears and corporal masses of painterly surface. Essentially a hermetic mode of research, Bauer is dedicated to the act of painting as enquiry, even if this work is done in a subjective pictorial language. This reckless reasoning is often framed by categorizing elements (sometimes in the form of a demarcating border, sometimes as an architectural detail) that define the picture plane as a field of linguistic research, but one dedicated to an improvisational and intuitive image-based mapping of contemporary human experience.

We are also happy to announce that we have extended the residence of T’uy’tanat - Cease Wyss through the rest of the spring.

Cease has recently returned to textiles after nearly 30 years and has been awarded a grant to hire a master weaver from her community to mentor weaving cedar and wool in Coast Salish styles. This important element of her culture has driven her research of looms, materials and weaving patterns. Wyss will be using the studio space to create a Coast Salish Noble Blanket which will be a part of an upcoming exhibition curated by Adrian Stimson.

Caroline Mesquita

March, 2017

Caroline Mesquita

We are delighted to welcome French artist Caroline Mesquita to our residence for the month of March. Mesquita’s sculptural practice intertwines the materiality of her altered, oxidized, and painted copper and brass sheets with theatrical playfulness. Over the month of March, Mesquita is in Vancouver developing a new project with Curator Martha Kirszenbaum to be presented at 221A from April to June, 2017, as a second chapter to The Ballad, presented at the Fondation d’Entreprise Ricard, Paris earlier this year. 

Born in 1989 in Brest, France, Mesquita graduated from École Nationale des Beaux-Arts in 2013. Solo exhibitions include The Ballad, Fondation d’Entreprise Ricard, Paris; Pink everywhere, Kunstverein Langenhagen, Germany; Jupiter Artland, Edinburgh, Scotland; Les Bains-Douches, Alençon, France, 2014, and 1m3, Lausanne, Switzerland, 2013. Group exhibitions include Europe, Europe, Astrup Fearnley Museet, Oslo, Norway 2014; The Space Between Us, Fahrenheit, Los Angeles, 2014; Memory Palaces, Carlier-Gebauer, Berlin, 2014; La Vie Matérielle, 15ème Prix Fondation d’entreprise Ricard, Paris, 2013; and Rob Pruitt’s Flea Market, Monnaie de Paris, Paris, 2012. Mesquita also attended the Mountain School of Arts in Los Angeles in the spring of 2014. Caroline Mesquita’s exhibition project at 221a is made possible through support from the Institut Français and the Cultural Services of the Embassy of France in Canada. 

Leigh Tennant and Cease Wyss

January - March, 2017

Griffin Art Projects is pleased to welcome our new artist in residence, Cease Wyss, and announce an extension of Leigh Tennant’s studio research, which began this fall, into the 2017 Winter Residency.

T'uy'tanat - Cease Wyss is Coast Salish from the Skwxwu7mesh and Sto:Lo First Nations communities. She has moved into the studio and will be there through the end of March. Over the past 25 years, Wyss has worked in media arts, performance, and installation including public art, exhibitions and community engagement.

Cease has recently returned to textiles after nearly 30 years and has been awarded a grant to hire a master weaver from her community to mentor weaving cedar and wool in Coast Salish styles. This important element of her culture has driven her research of looms, materials and weaving patterns. Wyss will be using the studio space to create a Coast Salish Noble Blanket which will be a part of an upcoming exhibition curated by Adrian Stimson.

Leigh Tennant will be continuing through the end of February their work begun in the residency this fall, an investigation of Maria Gough’s superb look at Russian Constructivism The Artist as Producer: Russian Constructivism in Revolution. Gough’s work reflects that, when the constructivist project was conceived, they didn’t entirely know how they would use it, that is, how they and we would use it. Tennant takes on this challenge.

This process marks Tennant’s total rejection of the social form of art in parliamentary-capitalism; or what Alain Badiou names the finitude of democratic materialism. Tennant’s negotiation of liberalism rejects the place that queer politics and notions of free sexuality reify as a form of politics, which has become synonymous with the distribution and policing of rights. In doing so, Tennant takes on the challenge of thinking about a cosmology suitable to a society that has undergone industrialization, the scientific revolution and the advent of communism.

Leigh Tennant and Alison Yip

September - December, 2016

Griffin Art Projects is pleased to welcome Leigh Tennant and Alison Yip to our Fall 2016 Artist in Residence program.

Tennant’s practice negotiates the intersections of trans and feminist discourses to undermine the oppressive logic internal to capitalism and processes of identification and objectification.

Tennant holds an MFA and a BA in Art History from the University of British Columbia. They were a founding member of TopDown BottumUp, a Vancouver project space that operated from 2011–13, and they recently exhibited at Artspeak, Vancouver.

Drawing upon the Vancouver Art Gallery rotunda’s now entombed niches, Yip will create an alternate world, presenting a nighttime garden comprised of wraparound latticework interspersed with allusive figures and flora.

Yip recently returned from Europe, where she studied at the Kunstakademie Düsseldorf. She holds an MFA from the Hochschule für bildende Künste, Hamburg and a BFA from the Alberta College of Art. Recent exhibitions include Fanta Spazio, Milan; Kunstverein Duisburg; Exklusiv-Garagen, Hamburg and CSA Space, Vancouver. Yip is represented by Monte Clark Gallery, Vancouver.

Charlene Vickers

March 25 - June 30, 2016

Charlene Vickers

We are pleased to welcome Charlene Vickers, an Anishnabe artist living and working in Vancouver, to be our inaugural artist is residence. Vickers’ residency will run from March 25 through the end of June.

Born in Kenora Ontario and raised in Toronto, Vickers art explores her Ojibway ancestry and experiences growing up and living in urban spaces. In speaking about her project Vickers has said: “My work concerns memory and expression of Aboriginal identity where materials carry social and cultural significance. In the past my work has dealt with the commodity aspect of Aboriginal culture selling an idealized First Nations body. Issues of racism and marginalization are exposed in the works presenting a realistic rather than romanticized reality for Aboriginal peoples. I reinvented typical Native objects sold to tourists and combined them with personal comments on urban living for aboriginal peoples.”

During her residency at Griffin Art Projects, Vickers will evolve installations of recent sculptural work and utilize the large studio space to produce a new body of expansive abstract paintings.

Charlene Vickers has shown her work in Canada and the United States, and is in the permanent collection of the Museum of Anthropology at the University of British Columbia in Vancouver. In 2015, Vickers participated in the group exhibitions The Fifth World at the Mendel Art Gallery, Saskatoon (curated by Wanda Nanibush), and Custom Made at Kamloops Art Gallery (curated by Tania Willard). She has recently presented solo exhibitions locally at Artspeak and grunt gallery, Vancouver.