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A01
Andrew Owen A01
A01 ART NOW PDF
portfolio of artworks
A01 ART NOW PDF presents selected images and information regarding series of
artworks by visual artist Andrew Owen A01.
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EXCAVATIONS

IMPRESSIONS

SOLARGRAPHS

FAUXTOGRAPHY

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Copyright©AndrewOwen2016
w w w . A 0 1 c r e a t i v e . c o m

EXCAVATIONS
e x c a v a te d
p a p er
p o s t e r h o a rd in g s
Cutting, peeling, striping, and excavating into
the many layers of paper advertising poster
hoardings harvested from the urban surfaces of
downtown Vancouver and Toronto, Canada.
These newer works follow-on from Excavation works created from hoarding of eros video
posters in Korea, and hoardings of Bollywood
film posters in India
Excavating into the layers of pre-existing urban
ephemera and commercial messages built-up
over many years. Carefully revealing the underlying strata of images and information through
a meticulous and time-consuming process akin
to archaeological excavation that exposes the
stratification of time: the deeper the excavation,
the further back in time is revealed.
Uncovering the layering of historical and commercial announcements and events; revealing
new found poetry sub-texts by re-reading layered message fragments; discovering forgotten
treasures revealed from within.
Creation through absence: nothing is added,
only removed.

Time Travel (Large)
2014

Toronto, Canada

excavated advertising poster hoarding 1.70 x 1.13 m / 67 x 44.5 in / 6.3 x 4.6 ft.

[More Images]

2

Time Travel Maquettes IV [Straight] & III [Spin]
2014

Toronto, Canada

[More Images]

excavated advertising poster hoarding 86 x 61 cm / 34 x 24 in each
3

Maximum Disruption
2007 - 2010

Vancouver, Canada

Disruption Maquette
excavated paper poster hoarding

[More Images]

1.40 x .93 m / 55 x 35.5 in

2007 Vancouver, Canada

Excavated advertising poster hoarding 45 x 31 cm / 17.5 x 12 in
4

42 x 1.Brilliant Cut Excavation [Diamond] detail 2008 Vancouver. Canada [More Images] excavated advertising poster hoarding 1.32 m / 56 x 52 in 5 .

Brilliant Cut Excavation & Emerald Cut Excavation Maquettes 2007 Vancouver. each [More Images] 6 . Canada excavated advertising poster hoarding 40 x 40 cm / 16 x 16 in.

Westside & Eastside.72 m / 44 x 28 in Magnolia Excavation II 2007 Vancouver.12 x . Canada Excavated advertising poster hoarding 45 x 30 cm / 18 x 12 in 7 .Autumn to Winter Excavation 2006 [Maple Leaf & Bamboo. Sheila & I] Vancouver. Canada [More Images] Excavated advertising poster hoarding 1. Canada & China.

Lilies & Bamboo Excavations II 2006 Vancouver. Canada Excavated advertising poster hoarding 40 x 30 cm / 16 x 12 in. Waddingtons 2013] 8 . each [More Images] [Featured and sold at Concrete Contemporary Canadian Art Auction.

Petticoat Creek. chronological. The cycle of seasons revealed by wildflowers changing over time references ancient poetic amd philosophical principles. Select works are later stretched over custom-built frames in-studio. Highland Creek. rain and mosquitoes we work quickly non-stop in one session to complete the paintings before nightfall. dirt. and a fantastic. the program offers many layers of reading: hydrological. wind. philosophical. botanical.-9 Andrew OwenA01 & Sheila Yihua Hu Nine Rivers Romance C o p y r i g h t Nine Rivers Romance is a series of paintings by the married couple Canadian-born Andrew Owen A01 and Taiwan-born Sheila Yihua Hu. Beyond immediate appearance as large floral paintings. “the flowers have. traders and settlers. c o m ] 9 . bicultural. Created with native and naturalized wildflowers and grasses. personal. by 50 feet wide. wildflowers and grasses.) paintings created at each of the nine rivers as one massive installation. The paintings are created with the actual natural wildflowers and grasses growing along each of the Greater Toronto Area’s “nine rivers” watersheds that flow into Lake Ontario between Etobicoke and Ajax: Etobicoke Creek. been allowed to speak for themselves. the works present under-appreciated botanical features of these important natural watersheds. Mimico Creek. Riding along the riverside trails collecting local wildflowers and flora. This series developed from the ongoing Impressions series of paintings initiated at a small scale on paper in Korea. marvel-filled adventure. brushes are not used. Loading bicycles each weekend with heaps of tarps. Rouge River. and more recently invasive weeds. and working with flowers. experimental process employing natural wildflowers and grasses in a positive stencilling process with aerosol paints that captures intricately detailed life-size impressions of the wildflowers. Don River. and now several years in Toronto. Caruthers Creek and Duffins Creek. in effect. The large un-stretched canvases are arranged horizontally on tarp-covered ground. canvas. geographical. humidity. What began years ago as Sheila assisting Andrew has now blossomed into an equal collaboration called Nine Rivers Romance. food and water. with the sense of “romance” as both the romantic love between a couple. we find shaded and secluded work sites by the rivers’ edge. and further developed in Japan and Taiwan. along with many smaller paintings. heat. the paintings result from layering aerosol paints. allowing natural accident and chance is inspired by Chan (Zen) painting. before greatly expanding in scope and scale on canvas during seven years in Vancouver. Employing aerosol paints alludes to Andrew’s history as a pioneers of Canadian graffiti art. The paintings are created outdoors with an original. sun. Remarkably. 8 feet tall. paints. historical. Donning work gloves and filter masks. grasses. The works operate as a hybrid of Eastern and Western painting: The vertically-composed floral paintings with oblique negative spaces are informed by classical Chinese painting. conceptual. Created along the main rivers of the GTA references the earliest pathways. A 0 1 c r e a t i v e . we take GO trains along the Lakeshore to the mouths of each river. technical and aesthetic. The process is experimental: only some works “succeed. Humber River. Employing an aerosol paint and positive stencilling process references the oldest know paintings of hand prints on cave walls. fishing and hunting grounds of the First Nations and later immigrant trappers. and the painting surface is not touched directly.” prompting repeated visits and iterations. Quoting a review in Canadian Art magazine.” © Andrew Owen & Sheila Yihua Hu 2016 [ w w w. Created very quickly and directly in one sitting. and later stripping away the flora to reveal traces embedded in the underlying layers of paint. Nine Rivers Romance is a set of nine large (8 x 5 ft.

10 .

Toronto .Image Foundry. Nine Rivers Romance: Pop-up Preview .October 2014 11 .

55 m / 96 x 60 in / 8 x 5 ft [More Images] 12 .44 x 1.Etobicoke Creek Wildflowers 2014 Toronto. Canada aerosol enamel on canvas detail 2.

55 m / 96 x 60 in / 8 x 5 ft [More Images] 13 .Mimico Creek Wildflowers 2014 Toronto. Canada aerosol enamel on canvas detail 2.44 x 1.

Humber River Wildflowers IV 2015 Toronto.44 x 1. Canada aerosol enamel on canvas detail 2.55 m / 96 x 60 in / 8 x 5 ft [More Images] 14 .

Don River Wildflowers 2011 Toronto.55 m / 96 x 60 in / 8 x 5 ft [More Images] 15 .44 x 1. Canada aerosol enamel on canvas detail 2.

Canada aerosol enamel on canvas detail 2.Highland Creek Wildflowers II 2014 Toronto.44 x 1.55 m / 96 x 60 in / 8 x 5 ft [More Images] 16 .

44 x 1. Canada aerosol enamel on canvas detail 2.Rouge River Wildflowers 2014 Toronto.55 m / 96 x 60 in / 8 x 5 ft [More Images] 17 .

44 x 1. Canada aerosol enamel on canvas detail 2.- Duffins Creek Wildflowers 2015 Toronto.55 m / 96 x 60 in / 8 x 5 ft [More Images] 18 .

44 x 1. Canada aerosol enamel on canvas detail 2.55 m / 96 x 60 in / 8 x 5 ft [More Images] 19 .Caruthers Creek Wildflowers 2015 Toronto.

s m a l l e r NINE RIVERS R O M A N C E f l o r a l landscapes Highland Creek Wildflowers I 2014 Toronto.55 x 1.5 ft [More Images] 20 .07 m / 60 x 42 in / 5 x 3. Canada aerosol enamel on canvas 1.

Canada aerosol enamel. oil on canvas 76 x 56 cm / 30 x 22 in each [More Images] 21 .Don River Wildflowers Diptych 2012 Toronto.

17 x 2.Don River Wildflowers Triptych 2012 Toronto. Canada aerosol enamel on canvas 1.1. overall [More Images] 22 .34 m / 46 x 92 in. each --.76 m / 46 x 30 in.17 x .

73 x 1.22 m / 68 x 48 in / 5.Humber River Wildflowers II 2007 Toronto. Canada aerosol enamel on canvas detail 1.6 x 4 ft [More Images] 23 .

Japan and Taiwan. experimental technique employing natural plants and flowers from the immediate vicinity in a process revealing very detailed impressions of flora at true life-size. Wild Ginger Flowers 2004 Chingtong.91 m / 48 x 36 in. [More Images] 24 . which developed from smaller works on paper produced in Korea. / 4 x 3 ft. employing a Western art materiality and experimental process. one-to-one scale. the paintings result from local conditions. transcending artificial dualities of East and West. applied skill. Created en plein air amongst the flowers. and accidental chance.22 x . traditional and contemporary.IMPRESSIONS floral landscapes with flora. ancient principles. A painting program evolving with increasing scope and scale on canvas in Canada. Taiwan aerosol enamel on paper mounted on board 1. oil and aerosol enamel on canvas Floral landscape paintings created with an original. real and representational. close observation and meditation. Informed by decades-long study and practice of Chinese ink painting and calligraphy.

Four Seasons at Once [Four sections.53 x . Canada 1. each painted during respective season over one year on a single canvas] 2015 oil. metallic aerosol enamel on canvas Toronto.66 m / 60 x 144 in / 5 x 12 ft each [More Images] 25 .3.

Lavender & Queen Anne’s Lace 1. metallic aerosol enamel on canvas Sunflowers.53 x . Canada Daylilies.91 m / 60 x 36 in / 5 x 3 ft each [More Images] 26 . Capanula & Ferns oil.Irises & Ferns 2015 Toronto.

09 m / 60 x 43 in. / 5 x 4. metallic gold.52 x 1.5 ft. [More Images] 27 . flora on canvas detail 1. Canada aerosol enamel.Wolfe Island Wildflowers 2014 Wolfe Island.

Daylilies
2014

Toronto, Canada

aerosol enamel on canvas

detail

1.52 x 1.52 m / 60 x 60 in. / 5 x 5 ft.

[More Images]

28

Secret Garden
2013

Ontario, Canada

aerosol enamel, oil, and flora on canvas

1.55 x 2.44 m / 60 x 96 in / 5 x 8 ft

[More Images]

29

Scotch Mountain Wildflowers [Diptych]
2012

Ontario, Canada

aerosol enamel, oil on canvas

1.53 x .91 m / 60 x 36 in / 5 x 3 ft each

[More Images]

30

Whack Colour Wildflowers
2011

Ontario, Canada

aerosol enamel on canvas

1.52 x 2.29 m / 60 x 90 in / 5 x 7.5 ft

[More Images]

31

Canada aerosol enamel on canvas 1.Pacific Spirit Ferns 2011 Vancouver.5 ft [More Images] 32 .29 m / 60 x 90 in / 5 x 7.52 x 2.

Canada [After 趙孟堅 Zhao Mengjian. 13th century China] aerosol enamel on canvas 79 x 1.Three Friends of Winter 2008 歲寒三友 Vancouver.com] 33 .07 m / 31 x 42 in [More Images] [Three Friends of Winter by Zhao Mengjian at ChinaOnlineMuseum.

developing a new program of at a large-format Solargraphs of flowers.13 x 2.- SOLARGRAPHS l a r g e . and people was a natural progression.trees. but rather. stretcher frame 2. The sun as the source of all life manifesting images of living things sustained by sunlight. / 7 x 7 ft.13 m / 84 x 84 in. Having developed an experimental painting process and extensive body of artworks known as Impressions. life-size 1:1-scale. with as little interference as possible by minimizing distortion caused by the artificiality of artistic media. developed with water. and a link between these extensive. as well as a range of photo-based art programmes known as Fauxtography. processes and ego to allow direct images created with true. and seemingly very different programmes of work. Not representations of. traces of living presence.f o r m a t c a m e r a . [More Images] 34 . Three Swimmers I 2013 (1 of 5) Solargraph on photosensitized fabric. These works of camera-less photography were created outdoors with local natural flora. fauna and sunshine. fruit.l e s s photographic prints on fabric To reveal things as they are.

Toronto 2014 [More Images] 35 .New True Blue: Cyanotype Solargrams: Installation view of pop-up exhibition at Image Foundry.

Irises III 2014 [More Images] cyanotype solargraph on photosensitized fabric. wood armature .92 x 1. 36 .53 m / 36 x 60 in. / 3 x 5 ft.

52 x . / ~5 x 3. / 60 x 42 in. / ~3 x 2.Apricot Blossoms I Cherry Blossoms IV 2014 2014 cyanotype solargraph on photosensitized fabric. cyanotype solargraph on photosensitized fabric.5 ft.3ft. wood armature [More Images] 1.07 m.92 x .71 m / 36 x 28 in.1. 37 . wood armature .

wood armature [More Images] .92 x . 38 .3 ft. wood armature .71 m / 36 x 28 in.Magnolia Blossoms III Cedar Branch 2014 2013 cyanotype solargraph on photosensitized fabric. / ~3 x 2. / ~3 x 2 ft.66 m / 36 x 26 in. (1 of 2) cyanotype solargraph on photosensitized fabric.91 x .

92 m / 56 x 36 in. wood armature 1.42 x .Hollyhock Wildflowers 2013 cyanotype solargraph on photosensitized fabric.91 m / 56 x 36 in. / ~5 x 3 ft. 39 . wood armature [More Images] 1. / ~5 x 3 ft.42 x . 2013 cyanotype solargraph on photosensitized fabric.

/ 60 x 36 in. cyanotype solargraph on photosensitized fabric. wood armature . 40 .Large Apple Branch Small Grape Vine 2013 2013 [More Images] cyanotype solargraph on photosensitized fabric.66 m. / 5 x 3 ft. / 36 x 26 in.91 x . wood armature 1.52 x . / ~3 x 2 ft.91 m.

52 x . 41 . / 60 x 36 in.91 m.F I G U R A L SOLARGRAPHS Mobile Lovers (after Banksy) 2014 (1 of 2) [More Images] cyanotype solargraph on photosensitized fabric. / 5 x 3 ft. wood armature 1.

/ 60 x 36 in.52 x .91 m. (1 of 2) cyanotype solargraph on photosensitized fabric. wood armature 48 x 36 in. / 4 x 3 ft.Old Guitarist (after Picasso) Blue Nude (after Picasso) 2014 2013 (1 of 2) [More Images] cyanotype solargraph on photosensitized fabric. wood armature 1. / 5 x 3 ft. 42 .

/ 5 x 7 ft. 43 .Elegant Cyclist 2013 [More Images] cyanotype solargraph on photosensitized fabric.52 x 2.13 m. wood armature 1. / 60 x 84 in.

/ 5 x 7 ft.52 x 2.Swift Cyclist 2013 [More Images] cyanotype solargraph on photosensitized fabric. wood armature 1.13 m. 44 . / 60 x 84 in.

59 m. 45 .13 x 2. / 7 x 9 ft. / 84 x 108 in. wood armature 2.Three Swimmers II (2 of 5) 2013 (2 of 5) [More Images] cyanotype solargraph on photosensitized fabric.

52 m / 60 x 60 in.- Z O D I A C L O V E R S Zodiac Lovers [Aquarius] 2014 (5 of 12 ) [More Images] cyanotype solargraph on photosensitized fabric.52 x 1. wood armature 1. / 5 x 5 ft. 46 .

Zodiac Lovers [Pisces] 2014 (2 of 12 ) [More Images] cyanotype solargraph on photosensitized fabric. / 5 x 5 ft. / 5 x 5 ft. 2014 (4 of 12 ) cyanotype solargraph on photosensitized fabric. wood armature Zodiac Lovers [Aries] 1. wood armature 1.52 x 1.52 m / 60 x 60 in. 47 .52 m / 60 x 60 in.52 x 1.

52 m / 60 x 60 in. / 5 x 5 ft.52 x 1. / 5 x 5 ft.52 x 1. 48 .52 m / 60 x 60 in.Zodiac Lovers [Gemini] Zodiac Lovers [Cancer] 2014 2014 (1 of 12 ) [More Images] cyanotype solargraph on photosensitized fabric. wood armature 1. (6 of 12 ) cyanotype solargraph on photosensitized fabric. wood armature 1.

religion.22 x . gender. The question then becomes: how can diversity be acknowledged and celebrated as inclusively as possible? United Diversity Portraits abandon artificial distinction between people based on outmoded notions of difference.92 m. culture. [More Images] 49 . The program manifests hybrid images of people that are post-ethnicity. the celebration of specific subcultures often inadvertently excludes others.- U N I T E D DIVERSITY h y b r i d i z e d i d e n t i t i e s Celebrating diversity and equal respect for all people regardless of national origin. age. representing diversity without resorting to visual clichés is difficult. Regrettably. -gender. is vitally important. sexuality. ability. etc. Supporting diversity includes acknowledging and celebrating many subcultures. ethnicity. Employing a non-discriminatory relation process collaboratively created with the people featured that gives expression to the inclusive and distinction-free flux and ever-changing dynamic diversity of many people united. subcultures are somewhat exclusive. however. and not inclusive of all people. profession. 10 x 15 cm / 4 x 6 in. each Urban art installations: 1. however. / 48 x 36 in. colour. -sexuality. education. United Diversity Portraits 2014 [Big on Bloor] (Six people as one) Original: 8 prints. and -ability. class. -age.

92 m. 10 x 15 cm / 4 x 6 in. 10 x 15 cm / 4 x 6 in.United Diversity Portraits 2014 [Big on Bloor] (Six people as one) Original: 8 prints.22 x . each Urban art installations: 1.22 x . United Diversity Portraits 2014 [Big on Bloor] (Eight people as one) Original: 8 prints.92 m. / 48 x 36 in. 50 . each [More Images] Urban art installations: 1. / 48 x 36 in.

22 x . 10 x 15 cm / 4 x 6 in. / 48 x 36 in.92 m. / 48 x 36 in. 51 . 10 x 15 cm / 4 x 6 in. 2013 [Elementary School] Original: 10 prints. each (Eight people as one) Urban art installations: 1. each [More Images] (Eight people as one) United Diversity Portraits Urban art installations: 1.22 x .92 m.United Diversity Portraits 2013 [Secondary School] Original: 8 prints.

each (Eight people as one) Urban art installations: 1.22 x .92 m. 52 .22 x . 10 x 15 cm / 4 x 6 in.United Diversity Portraits 2012 [Elementary School] Original: 10 prints. 2012 [Fashion Art Toronto ] Original: 10 prints. 10 x 15 cm / 4 x 6 in. / 48 x 36 in. each [More Images] (Eight people as one) United Diversity Portraits Urban art installations: 1.92 m. / 48 x 36 in.

/ 48 x 36 in. 10 x 15 cm / 4 x 6 in. Toronto ] Original: 10 prints.92 m.22 x .United Diversity Portraits 2012 [Subtle Technologies. United Diversity Portraits at AGO Pillar 2013 Urban art installations: 1. each face [More Images] 53 .92 m. each [More Images] (Ten people as one) Urban art installations: 1. / 48 x 36 in.22 x .

A program informed by a childhood watching my filmmaker father editing celluloid film strips. [More Images] 54 .5 ft. diversity of persona.5 in. Gilbert & George. Snow.f o r m a t p h o t o p r i n t compositions Larger-than-life photographic tableaux composed from many photographs. explorations by Hockney. Photo-cubic Lilies (180º view) 2012 Toronto.08 m / 55 x 42.6 x 3. range of moods. Iterations are posted as urban art interventions. early Korean multiple-perspective still-life painting. Each image individually framed: the many framed images assembled edge-to-edge as large-scale installations for exhibition. each individually shot and printed at life-size. locations. / 4. and live actions unfolding over time. views.PHOTO-CUBIC TABLEAUX l a r g e . and the Cubism of Picasso and Duchamp on the centenary of its fluorescence.40 x 1. 1:1-scale. Simultaneously presenting a multiplicity of angles. perspectives. Canada 25 individually famed photographic prints 1. and Prince.

Canada sub-dye prints on panel [More Images] Individual images: 10 x 15 cm / 4 x 6 in.Overall installation: 1. each --.Collective Reclining Nude [Life-size composite of ~150 close-up photographs shot and printed live on site at 1:1-scale of more than 40 different people each of whom only presented only a postcard-size area of bare flesh while otherwise remaining clothed] 2013 Toronto.22 x 1.52 m / 48 x 60 in / ~4 x 6 ft 55 .

5 in --. on-site with 100 participants at Toronto Art and Fashion Week) 2011 Toronto.33 ft 56 .45 m / 77 x 136 in / 6. Canada [More Images] 112 photographic prints.96 x 3.4 x 11. steel/glass frames Individual images: 28 x 22 cm / 11 x 8.Live Collective Photo-Cubic Portrait Tableau (Created live.Overall installation: 1.

90 x 4.88 m / 270 x 192 in / 22.5 x 16 ft --. Don’t Tell 2010 [On the Unimagined Fragments that Arise When World’s Collide During the Instantaneous Transition from Innocence to Debauchery] Vancouver. Canada 298 photographic prints.5 x 16 ft [More Images] 57 .Each scene: 2.30 x 4.Overall installation: 6.88 m / 90 x 192 in / 7.Don’t Ask. steel/glass frames (with Jennifer Osborne) Three Scenes Stacked + detail Individual images: 36 x 28 cm / 14 x 11 in --.

[More Images] 58 . Canada multiple format photographic prints. stainless steel washers and screws Overall installation: 2. 112 wood/glass frames. / 6.Photo-cubic Stoop Punks: Portrait Tableau 2009 .2010 Toronto.66 m / 81 x 144 in.06 x 3.75 x 12 ft.

68 x 2.16 m / 66 x 85 in / 5. Vancouver.5 x 7 ft 59 . Canada Multiple format photographic prints on panel Overall installation: 1.Public Private Cubic Couple 2008 .2009 [More Images] [The Actuality of Being Two Places at Once While Simultaneously Revealing Both Public and Private Persona] Stanley Park + Vancouver Art Gallery.

6 x 6. 60 .5 in / 4.95 m / 55 x 76.2010 [More Images] [On the Fractured Authenticity of Here and Now as Compared to Seamless Artistic Fiction in the Guise of Historical Representation] Vancouver. Canada Multiple format photographic prints on panel Overall installation: 1.40 x 1.4 ft.Photo-cubic Carpenters 2009 .

23 m / 96 x 288 in / 8 x 24 ft [More Images] [Link to time-lapse production video @ Youtube] 61 . Canada (with Byron Dauncey) multiple format photographic prints. mixed media on panel overall installation: 2.44 x 7.Throwup Throwdown: Andrew01 vs Cameraman 2007 Vancouver.

360º photo-sculpture of multidiscipline artist Michael Snow) 2011 backlight inkjet print on polystyrene. These works are also homage to senior artists whom I and others respect and admire. edge of image. the works are actually 50 separate images shot over time that do not fit together perfectly. Each image shot a life-size 1:1-scale for 11 x 14 in. fluorescent lighting fixture Toronto. Snow in June (1:1-scale. lit from within by a single fluorescent light tube. foreshortening. “Flat” versions present each print separately framed. the compositions are both lifesize and larger-than-life. depth of field. tall with a 3” diameter.MASTERS IN THE ROUND 360ºPhoto-Sculpture Portraits Photographic portraits of senior master artists composed of 50 separate images shot in five steps from bottom to top from 10 positions surrounding the subject. including: scale. Remarkably. the two ends joined to form a cylinder 6 ft. An exploration of photographic space by foregrounding problems with photographic representation. Although viewers amalgamate the images as unified portraits. Canada [More Images] 62 . “Round” versions are produced as single large prints on flexible styrene. and focus. and the 50 framed prints composed as large wall installations.

fluorescent lighting fixture Toronto. 360º photo-sculpture of multidiscipline artist Michael Snow) 2011 backlight inkjet print on polystyrene.Snow in June (1:1-scale.80 m / 70 x 110 in / 5. each --.16 ft [More Images] 63 .8 x 9. Canada 50 individual images: 28 x 36 cm / 11 x 14 in.78 x 2.Overall installation (flat): 1.

fluorescent lighting fixture Toronto.78 x 2. Canada 50 individual images: 28 x 36 cm / 11 x 14 in. each --. 360º photo-sculpture of painter Rae Johnson) 2015 backlight inkjet print on polystyrene.16 ft [More Images] 64 .8 x 9.Rae at Euclid (1:1-scale.80 m / 70 x 110 in / 5.Overall installation (flat): 1.

16 ft [More Images] 65 . fluorescent lighting fixture Toronto. 360º photo-sculpture of painting and draftsman Matt Harley) 2015 backlight inkjet print on polystyrene. each --.78 x 2.Overall installation (flat): 1.80 m / 70 x 110 in / 5.Matt at Grange (1:1-scale. Canada 50 individual images: 28 x 36 cm / 11 x 14 in.8 x 9.

Overall installation (flat): 1.8 x 9.80 m / 70 x 110 in / 5. 360º photo-sculpture of performance and video artist Istvan Kantor) 2015 backlight inkjet print on polystyrene.16 ft [More Images] 66 . Canada 50 individual images: 28 x 36 cm / 11 x 14 in. fluorescent lighting fixture Toronto. each --.Istvan at Sterling (1:1-scale.78 x 2.

8 x 9. Canada 50 individual images: 28 x 36 cm / 11 x 14 in.80 m / 70 x 110 in / 5. 360º photo-sculpture of video artist Vera Frenkel) 2015 backlight inkjet print on polystyrene.16 ft [More Images] 67 .78 x 2.Vera at Trinity (1:1-scale.Overall installation (flat): 1. each --. fluorescent lighting fixture Toronto.

fluorescent lighting fixture Toronto. Canada 50 individual images: 28 x 36 cm / 11 x 14 in.16 ft [More Images] 68 .78 x 2.Overall installation (flat): 1.Don in May (1:1-scale. 360º photo-sculpture of filmmaker Don Owen) 2014 backlight inkjet print on polystyrene. each --.80 m / 70 x 110 in / 5.8 x 9.

Overall installation (flat): 1.80 m / 70 x 110 in / 5.78 x 2.8 x 9. Canada 50 individual images: 28 x 36 cm / 11 x 14 in. 360º photo-sculpture of Napoleon Brousseau) 2015 backlight inkjet print on polystyrene.16 ft [More Images] 69 . each --. fluorescent lighting fixture Toronto.Napo at Mimico (1:1-scale.

Masters in the Round Maquettes (1:1-scale.80 m / 70 x 110 in / 5. 360º photo-sculptures of senior master artists) 2015 backlight inkjet print on polystyrene.16 ft [More Images] 70 .78 x 2. each --. fluorescent lighting fixture Toronto.8 x 9. Canada 50 individual images: 28 x 36 cm / 11 x 14 in.Overall installation (flat): 1.

b) posted outdoors the photographs operate as urban art interventions. and re-photographing the photographs posted in situ. Jorge Luis Borges and Umberto Eco regarding fantastic cartography. c) re-photographing the photographs posted in situ. Re:Photo:Surfaces involves shooting and printing close-up photographs of vertical urban surfaces at 1:1-scale. [More Images] mounted directly over the surface depicted. in part. by literary cross referencing between Lewis Carol. d) noticing the “camouflaged” interventions.- Re:Photo:Surfaces. viewers become momentarily confused between real and representational. the subject shifts from the “nominal image” depicted to the intervention of photography within a scene. shot and printed at 1:1-scale. Several operations are produced: a) extreme close-up photographic documentation of urban surfaces. installing the life-size prints directly over the surfaces depicted. Flowers [On the Possibility of Creating a Map of the Empire at a Scale of One-to-One While Foregrounding the Limitations of Representation] meta-photographic int er vent ions An extensive multi-city programme inspired.” Just a Façade: Hamilton 2012 Hamilton. People. Canada Large photographs of urban surfaces. and the operation shifts from documentary photography to meta-photography. and briefly reconsider the veracity of the “real. and rephotographed in-situ Dimensions variable 71 .

shot and printed at 1:1-scale.Just a Façade: Hamilton [On the Possibility of Creating a Map of the Empire at a Scale of One-to-One While Foregrounding the Limitations of Representation: Urban Surfaces] 2012 Hamilton. mounted directly over the surface depicted. and rephotographed in-situ Dimensions variable (~48 x 36 ins. Canada [More Images] Large photographs of urban surfaces.) 72 .

resituated directly over the people depicted.Re: Photo: People: Duos 2006 . shot and printed at 1:1-scale. Canada [More Images] Photographs of local people.2011 [On the Possibility of Creating a Map of the Empire at a Scale of One-to-One While Foregrounding the Limitations of Representation: Fauna] Vanouver/Toronto. and re-photographed Dimensions variable 73 .

2012 Vancouver/Toronto. and re-photographed Dimensions variable 74 . Canada [More Images] Photographs of flowering plants. re-situated directly over the flowers depicted.Re: Photo: Flowers & Fences [On the Possibility of Creating a Map of the Empire at a Scale of One-to-One While Foregrounding the Limitations of Representation: Flora] 2006 . shot and printed at 1:1-scale.

object confusion. tape. political and ethical dangers resulting from hack ethnographic objectification of the “exotic other” and other dangerously distorting limitations of the traditional photographic gaze. To expose socio-economic. the tyranny of ego-driven subjective manipulation. Strategies for liberation from the implied “technical objectivity” of photography.FAU X TO G R A P H Y meta-photographic o p e r a t i o n s Turning photography to look back at itself with metaphotographic strategies: re-photographing photographs of actions posted within the actions. on framed mirror 56 x 41 cm / 22 x 16 ins 75 . repurposing found cameras and prints. Michael Snow. Digital Authorisation [after Authorisation. filmic sequential series. subject . the degradation of global culture arising from the tourism industry. collapse of subject and media. content and context. and the neocolonial violence of cultural appropriation. the transformation of personal and cultural identity from human migration and globalization. 1969] 2013 Toronto [More Images] Photographic prints.

Canada repurposed radically cropped found passport photographs. friends.2006 Taipei. A row of heavy black photo punches is available. Three passport-sized photographs are requested. Climate Change and War] Securing an Alien Registration Card for legal employment in the Republic of China requires in-person application at the Visa Bureau in the National Police Headquarters. each with a small black wastebasket filled with excised and discarded photos of foreign nationals who have been processed. Climate Change and War] 2001 . acid-free float mounting [More Images] 76 . These artefacts of bureaucratic processes speak to the sacrifice of personal and cultural identity required to participate in the massive trans-national phenomenon of human migration arising from the forces of globalization.Alien Registration [On the Radical Excision and Abandonment of Identity to Adapt to the Forces of Globalization. these images also speak to future generations migrating from formerly developed to newly developed nations. new immigrants or political refugees. culture. Alien Registration I [On the Radical Excision and Abandonment of Identity to Adapt to the Forces of Globalization. economic migrants. but only the face is required. language and diet – effectively abandoning one’s original identity – and rapidly adapting to the culture. Outmoded concepts like “north” and “south” “developed” and “developing” are undergoing rapid transformation.Taiwan + Vancouver. language and diet of the host country. Migrating from a developing economy to a moredeveloped one requires leaving one’s family. The images are universal and represent anyone migrating from one economic zone to another: foreign students and workers.

Taiwan + Vancouver + Toronto. acid-free float mounting 2001 . Climate Change and War] repurposed radically cropped found passport photographs. / 20 x 16 ins. [More Images] 77 .Alien Registration II [On the Radical Excision and Abandonment of Identity to Adapt to the Forces of Globalization. Canada 51 x 41 cm.2007 Taipei.

Taiwan + Vancouver + Toronto. Climate Change and War] repurposed radically cropped found passport photographs. Canada 51 x 84 cm.2015 Taipei. [More Images] 78 . / 20 x 33 ins. acid-free float mounting 2001 .Alien Registration III [On the Radical Excision and Abandonment of Identity to Adapt to the Forces of Globalization.

and photographs mounted on panel [More Images] 79 . steel armatures. aggravate this dangerous transnational phenomenon. the tourism industry threatens to smother the objects of its desire.have now become more important to both tourists and locals. Visiting famous natural and cultural sites involves running a gauntlet of hyper-commercialism and a barrage of cheap simulacra before experiencing the ‘real’ thing.Present Worldwide souvenir replicas. Built on the premise of enabling closer contact with the world’s wonders. and obscured by degraded replicas. An enormous infrastructure has developed to support what has now become the world’s largest industry. Globanality (Installation view x 25) 1996 . out of focus. which degrade local natural and cultural sites to provide cultural consumption for the people of richer nations. Hotels. photographs and souvenirs . Natural and cultural wonders have been reduced to being glimpsed in the background through crowds and commercial kiosks. The processes of “development” and globalization.Globanality [On the Relentless Consumption of Cultural Simulacra Threatening to Obliterate the Sites of Desire] Millions of tourists are continually descending on the many wonders of the world in the massive global migration known as tourism.often provided by multinational entities .

and photographs mounted on panel 5 details Each panel: 38 x 30 cm / 15 x 12 in --.Globanality [On the Relentless Production and Consumption of Natural and Cultural Simulacra Threatening to Obliterate the Sites of Desire] 1996 .00 x 5.2010 [More Images] Worldwide souvenir replicas. steel armatures.Overall installation x 50 panels: ~ 3.00 m / 118 x 197 in / ~10 x 16 ft 80 .

exposure. and my role is simply removing a shroud. Photography offers immediacy. these photographs are authentic artefacts produced at each place. Seoul. allowing time and place to reveal itself. 1.both conscious and unconscious . And unlike photographs exposed in one place and printed in another. Automatic Landscapes [Collapsing the Chasm Between Subject and Viewer Allowing Content and Context to Become One] 1997 . Simply lifting the background curtains enables the machines to capture unmediated images of their ordinary surroundings. framing. image and print. Found cameras from the streets of Tokyo. But outsider’s observations are obvious and banal. Kyoto. idealized views of the local culture.A u t o m a t i c Landscapes [Collapsing the Chasm Between Subject and Viewer Allowing Content and Context to Become One] Visiting ‘foreign’ places presents temptation to record exotic.” but photography imposes subjective manipulation . as it is. subject and medium.2001 Korea + Japan repurposed found digital photo-sticker machines 8 works total x 16. and the illusion of “technical objectivity. lighting.” The challenge becomes how to represent experience of a time and place while minimizing distortion by subjective biases.5 x 2 cm images ea. content and context become one. Osaka. and Pusan capturing images of their locality directly: the street photographing itself. In this way. A more direct authenticity was discovered by employing the many digital photo-booths available in major urban centres in Korea and Japan: found digital cameras on every street corner. personal ego and the artificiality of artistic media.in the choice of subject. angle. depth-of-field and focus. countless coffee table photography books present depictions of the exotic “other. [More Images] 81 .

10 x 1. 1.5 x 2 cm images ea. 82 .10 m / 43 x 43 in.33 in + 10X ink jet on laminated film enlargements: 1.33 x 4.2001 Korea + Japan [More Images] repurposed found digital photo-sticker machines 8 works total x 16.Automatic Landscapes [Collapsing the Chasm Between Subject and Viewer Allowing Content and Context to Become One] 1997 . detail Each work: 11 x 11 cm / 4.

perhaps nowhere more than in the consumerized West.. I say “elusive” because the idea takes some teasing out. The flowers have been allowed.of flowers or groups of people . It’s designed not to bridge the subjectivity gap. This piece. Catalogues Related Links on the Web Copyright©AndrewOwen2016 w w w . but of available perspectives. In the photo collages.that it would be easy enough to conclude that three or four artists 180 CANADIAN ART were involved. mind the gap. c o m .by rendering them via a barrage of different views. in other words. a chasm of personal and cultural bias that separates us from the truth about.REVIEWS A01 Andrew Owen A01 Creative Produce C O N T A C T ANDREW OWEN A01 Photo-cubic Punks Portrait Tableau 2009 -10 Multiple format photographic prints. paint ghosts in under the leaves and the works have been subject to the whims of wind and other conditions in the field. Using a technique he describes as “photo-cubic.via the impressive range of work that comprises his first solo show in Canada in almost 20 years . asserts Owen (who also goes by the name A01) . Owen take a diametrically different approach. Traces of the plants and flowers used in the process remain. not of objects. Articles. We live. 112 frames 2.well. But it’s all Owen. positive stencils made by building up successive layers of paint and wildflowers on the canvas.0885 Andrew Owen’s basic idea is elusive. in effect..770. A 0 1 c r e a t i v e . of course with the subjectivities of both artist and the viewer contributing to a permanently flawed communication. is a collage. Once we sense this harmonization. The floral Impressions are field compositions.66 m Andrew Owen A01 VANCOUVER MARION SCOTT GALLERY Web: www. His answer: to get the artist out of the way to whatever degree possible. the body of work transmutes satisfyingly from multifarious to cohesive. This method reaches its most complete expression in a large work called Photo-cubic Punks: Portrait Tableaux. the show incorporates work so varied in terms of media and aesthetic tone . But then that’s exactly the core of Andrew Owen’s basic idea: that a great deal eludes us.647. roughly. but to erect a sign that reads. Art objects are crucial in this analysis. Each work in this show represents a discrete attempt on Owen’s part to do so. to speak for themselves. LINKS: Portfolio of earlier artworks: A01 ART THEN PDF Print Media Reviews. which depicts a group of punks assembled on a stoop in Toronto’s Kensington Market.on the twilight side of a yawning subjectivity gap. and all in the same conceptual key.com ANDREW OWEN A01 by Timothy Taylor Email: andrew_a01@yahoo.” he delivers portraits .a01creative. How to conquer that? This is in effect what Owen asks.ca Phone: +1.06 x 3.from floral paintings to fragmented photographic collage to repurposed ad-covered hoardings . just about anything. At first glance.