Friday, September 23, 2016

A Very Broad and Poetic Artist Statement My cross disciplinary art practice includes mixed media beer case moccasins, performance, painting and sculptural installation, video and sound events to express memory as a conceptual and political site. My recent works become physical embodiments of memory as tangible markers of my Anishinabe territorial presence. “When walking through the core of downtown Vancouver I am expressing my embodied territory; within each step, a trace of my ancestors is present. I am thinking of my work and where I am from and how to maneuver through this world.”

Monday, June 27, 2016

BIO 2016

Charlene Vickers is an Anishnabe artist based in Vancouver, BC Canada. Recent solo exhibitions include "Asemaa/Tobacco" Artspeak and "Ominjimendaan/to remember" grunt gallery in Vancouver. Her work has exhibited across Canada and the United States and toured nationally in the group shows The Fifth World at the Mendel Art Gallery in Saskatoon, (curated by Wanda Nanibush) and Custom Made at Kamloops Art Gallery (curated by Tania Willard); and can be seen in the permanent collections at the Museum of Anthropology, University of British Columbia. Charlene is an MFA grad at Simon Fraser University and is on the Board of Directors at grunt gallery. This past spring 2016, Vickers was selected as the inaugural artist in residence at Griffin Art Projects in North Vancouver creating a series of expansive abstract paintings, plus a new performance work with Chad MacQuarrie called Portals and Improvisations.

Thursday, May 26, 2016

Doing well at the art studios at Griffin Art Projects! Some Thoughts On New Abstract Painted Works and Sound Events

Time Spent Under Water With The Sun And Moon is a new series of oil paintings on panel and mixed media paintings on paper. The focus of the work is the energy and contrasting colours moving through its in-the-moment moments act of painting. I am expressing a self-reclamation of territory and presence via surreal abstraction and psychedelic renditions of land and water. Formally the Zig Zag pattern structurally composes the rhythm and movement of the eye over the surface of the work while further anchoring my act of painting as a cultural gesture inspired by traditional quill embroidery. In thinking about the flatness of this work I am thinking of the life of the quill unto itself. Quills that once grew from the body of the porcupine are then hand-plucked, dyed, flattened and sewn to a hide in a folded over zig zag method. Transformation of the porcupine quill from defensive armour growing from a living body is then manipulated by hand into decorative embroidery is an invention of pure genius by my ancestors. I have been learning quill work and appreciate the level of patience and skill that you must develop over time. Repetition of the zig zag is an extension of this repetitious activity. Formally the zig zag organizes each work creating windows that frame depictions of mountains, suns, moons and water. The rhythm of each work echo patterns in nature, animals, and the cycles of life. These cycles inform my bodily presence that moves through natural and urban landscapes. How the zig zag paintings resonate, vibrate and buzz as abstraction has been further influenced by my explorations into electronic and improvised music. I have been using small electronic machines, Monotrons and Kaosillator pad, learning intuitively how to interact and improvise. I am further using electronics and noise music within performance as a way to open up the environment of the gallery space and to clear the energies surrounding my work. Through the electronic machines I am recalibrating and re-focusing the viewer’s visual acuity; challenging them to be involved in my sound event and perhaps to experience the work from a more embodied realm.