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Kelly Wood and Monika Grzymala

Catriona Jeffries Gallery
Vancouver BC – Jan 8–Feb 16, 2008

Kelly Wood and Monika Grzymala - installation view

Kelly Wood and Monika Grzymala, installation view [Catriona Jeffries Gallery, Vancouver BC, Jan 8-Feb 16]

A new exhibit at Catriona Jeffries mixes two different approaches to the structuring, distortion and visualization of sound in space. Curated by Jessie Caryl, the two-person exhibition presents works by gallery artist Kelly Wood and Hamburg-based artist Monika Grzymala.

In her work, Wood deals with the erosion of categories, boundaries and structures. At the same time, she presents images of iteration and reverberation. This dual nature of her photographic work – art, not art; or in this case, sound, not sound – is what makes it most intellectually provocative. A new series of 10 large, almost monochromatic photographs make visible the binary code formats of digital recordings of ten songs performed between 1955 and 1990.

Visible in each photograph are the wave forms and fluctuations produced by sound. Wood used recordings of innovative Canadian music ranging from Hugh Le Caine's "dripsody" – composed in 1955 from a sound sample of a drip of water falling in a pail – to recordings by Intersystems, the Nihilist Spasm Band, John Oswald and, of course, the UJ3RK5. An essay by Eric Bell entitled Sound and Material Signs accompanies the exhibition along with summarized notes about each composer, band or musician.

Monika Grzymala has created an installation entitled Distortion that is comprised of approximately seven kilometres of adhesive tape. During her two-week installation process, Grzymala built up lengths and lengths of tape into radiating clusters and striated aggregations of lines that connect to each other and to the floor and walls of the gallery. The look of Grzymala's installation is related to visual interference and pixellation, those random errors and digital distortions which appear accidentally in electronic imagery.


Mia Johnson

 Fri, Feb 8, 2008