Jill Price: Unmaking the Frame
Unmaking the Frame
November 3 – December 4, 2022
Opening Reception: Thursday, November 3, 6:00 – 9:00 PM
Artist Talk: Tuesday, November 22, 10:00 am
The Campus Gallery, Barrie
Furthering her research into the act of unmaking, interdisciplinary artist Jill Price draws on and out the history of Still Life painting to bring attention to the material histories and effect of objects as part of her new art installation UN/making the Frame.
Interested in the new materialist writing of Jane Bennet in which the author describes all matter as vibrant actants with agency, the exhibition presents multiple assemblages that point to how a plastic garbage can or “a mere bowl of fruit,” whether painted or in the flesh, are all part of our animate and interconnected ecologies.
Price shares, “For me, images and objects are no longer just symbols of beliefs or generators of emotion. In learning that we only see five percent of the material iceberg that goes into the making of a “thing,” and that transnational industrial systems colonize and contaminate the elemental commons, I now understand how “things” are signs that point to bigger chains of material extraction, production, dissemination and discard.
Resisting the desire or social pressure to create more work for the exhibition, Price started from the lines contained within one of her painted-over landscape works. Entitled Landscape on Table, the artist then uses black painter’s tape, other reconfigured artworks, and her personal collection of “things” to extend the Still-Life’s picture plane into the gallery’s 3D architectural space. In doing so, Price illustrates how our interior and exterior worlds are physically and psychically linked.
Embracing the ready-made for its potential to delineate space as well as bring attention to the accumulation and “liveliness” of everyday objects, Price also plays with abstraction, deconstruction and reflection to disrupt the structural delineations within the gallery so as to unsettle how, where, when and why objects are utilized or situated within a space. Price explains,
“In coming to recognize how objects impact environments way beyond the sites in which they are consumed or viewed, I am interested in how unmaking frames of representation and perception inevitably lead to an endless number of questions and multiple truths that can extend the life of an object, as well as lead to a deeper understanding and increased valuing of the material networks we are a part of.”
In an additional effort to reverse the Italian term for Still Life, natura morta, which means “dead nature”, Price pushes art into the verb tense by incorporating stop motion videos of herself preparing for and installing the exhibition, and offering interactive prompts such as those found within the instructional art of Yoko Ono. Price clarifies,
“The stop motion videos, although accelerated, work to draw attention to the process, time, labour and other materials that go into the making of any one thing or space. By making this visible I point to how the cost and true value of “things” do not align. By calling on visitors to put on a suit, smell, water, zest, taste, move, touch and rearrange elements in the space, I invite everyday performances that help to visualize how still-life paintings are neither two-dimensional nor still, and that the actions of humans’ matter.”
The artist would like to thank artist assistants Jaeden Redmond, Gayle Fortin, Derek Berry, Darcie Brownell and Dale Mary Sachin and acknowledge the support of
About the Artist:
A past instructor within Georgian College’s Fundamental Art and Fine Art programs, Jill Price is an interdisciplinary Canadian artist and independent curator of German, Scottish, Welsh and unknown descent grateful to be living, working and playing on the traditional territory of the Wendat Nation and Anishinaabeg people, in Barrie, Ontario. Price earned a BFA and BEd at Western University and an MFA in Interdisciplinary Art Media and Design at OCAD University in Toronto, Ontario. The recipient of a 2016 SSHRC national research grant and the 2017 Michael Smith Foreign Study Bursary for research into the ecological, social and psychological shadows of the global textile industry, Price was also awarded OCADU’s 2017 Research and Writing Award for her thesis Land as Archive: A Collection of Seen and Unseen Shadows. Having also received the 2018-19 Faculty of Arts and Science Dean’s Award for Environmental Justice, 2021 Faculty of Arts and Science Project-Based and Portfolio Ph.D. Research Award, and a 2021 /2022 Teaching Fellowship at Queen’s University, Price is currently in the last stages of a SSHRC PhD Research Fellowship at Queen’s University in which she is in the process of developing an UN/making Methodology.
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Campus Gallery Hours
Monday to Friday 10:00 am to 4 pm
Saturday & Sunday 12:00 to 4:00 pm
Admission is free and all are welcome. (Honk parking is in effect)
Amy Bagshaw (she/her)
Campus Gallery Director
249.388.1788 | Amy.Bagshaw@georgiancollege.ca