This year at the Emily Carr Graduation disgorgement, I pointed my lens upwards in the high- ceilinged Concourse gallery and found an agile curation of coolly minimal and starkly lyrical installations...
from a linear pair of stiff L-shaped rods piercing the wall at varying angles to create optical variations from various perspectives...[
Ivan Mickovic, Untitled]
to the softly draping cascade of black cotton strands that reject any angular intervention whatsoever...[
Kit Kilgour, "Weftless"]
to a single thick red rope hanging like a stream of corded blood emitted from a spot-lit source...
to convolute into a single knot beneath a piece of nautical hardware pointing towards three panels of marine blueness...[
Roy Munz, "A Poetic Visual Interpretation of 'Time and Free Will:...' Henri Bergson, 1889"]
to the tilted shiny sculptural soupcon of a suprematist ode, which by chance reflects partial views of the double paintings on the near wall, and hence unwittingly smears its purist constructivist mode...[
Evgueni Saiapine, "Phase 1"]
the upper abstracted explosion of those two paintings looms over the viewer in a downpour of virulent colours and feral forms...[Andrew Smith, "The Meeting"]
and one last twirl around this desolately contrived tropical extravaganza of kitschy pink flamingos perched high above and far from any suburban lawn and a precariously elevated stemmed glass vase with a palm seedling sprouting obliviously away...[
Eun Kyung Kim, "One Night in Bangkok"]
[damn you, Eun Kyung Kim, now I can't get that song out of my head!
"like the devil walking next to me..."]
Emily Carr University of Art and Design
2012 Graduation Show
May 5-20
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