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improvincial gallery
improvincial galley
corner of cashel and barbadoes streets
christchurch
new zealand
contact
027 6355806
email ptrebus@xtra.co.nz
Three Degrees is an exhibition by recent graduates, Joshua Smith BVA, Maree Cathcart BVA and Peter ODonnell BVA. The improvised gallery in the Old Provincial finds its spaces populated by artists who's works, by nature, are defined as experimental procedures.
From her recent Urban Determinism series, Cathcart's abstract oil paintings fracture the picture plane with her unique take on dimensionality. These divided fields of oscillating intersections become a sign for all urban substance and form the basis for what she takes as a universal grammar of form.
Smith's video art loop explores memorys role in determining experiential reality. The exhibits temporality mimics the way we know the world. Film, like memory, is procedural not unlike our engagement of the senses.
O'Donnell improvises in abandoned spaces. His site-specific performance work embraces the theme of loss and renewal. Aleatory, multiple residues as constituent elements vaporise associations brought by the viewer.
I like openness, so I don’t rest on anything for too long, this attitude associated my ‘process’ with that of the non-committal inconsistencies of my contemporaries. My contextual location is with intermedia artists who like me use fragments to encourage the viewer to participate in the interpretation of the meaning of the work. We share a love for indeterminacy, meshing conceptual material and media borders that establish subjects, concepts, meaning or lack of meaning at any stage of the process.
corner of cashel and barbadoes streets
christchurch
new zealand
contact
027 6355806
email ptrebus@xtra.co.nz
Three Degrees is an exhibition by recent graduates, Joshua Smith BVA, Maree Cathcart BVA and Peter ODonnell BVA. The improvised gallery in the Old Provincial finds its spaces populated by artists who's works, by nature, are defined as experimental procedures.
From her recent Urban Determinism series, Cathcart's abstract oil paintings fracture the picture plane with her unique take on dimensionality. These divided fields of oscillating intersections become a sign for all urban substance and form the basis for what she takes as a universal grammar of form.
Smith's video art loop explores memorys role in determining experiential reality. The exhibits temporality mimics the way we know the world. Film, like memory, is procedural not unlike our engagement of the senses.
O'Donnell improvises in abandoned spaces. His site-specific performance work embraces the theme of loss and renewal. Aleatory, multiple residues as constituent elements vaporise associations brought by the viewer.
I like openness, so I don’t rest on anything for too long, this attitude associated my ‘process’ with that of the non-committal inconsistencies of my contemporaries. My contextual location is with intermedia artists who like me use fragments to encourage the viewer to participate in the interpretation of the meaning of the work. We share a love for indeterminacy, meshing conceptual material and media borders that establish subjects, concepts, meaning or lack of meaning at any stage of the process.