by Brandon Chow
Damian Moppett’s work at the Vancouver Art Gallery’s Offsite location fashions concrete space into an imagined stage, and Georgia Street’s sidewalk into front-row seating.
Large Painting and Caryatid Maquette in Studio at Night, colloquially nuanced, describes a large-scale model (maquette) of elements from a portrait of Moppett’s studio, translated into a colour kaleidoscope of Rorschach-esque metal cutouts. While a sculpture of a painting of an art studio sounds like an easy concept at which to throw hipster labels, Moppett’s use of various media in relation to one another reflects a deeper meditation on the progression of art making—something that didn’t immediately appear to me in my experience with this piece, but grew more familiar with an intimate review.
By Sean Michael Nelson
Damian Moppett’s print Red Studio Squares, part of the recent Not Photographs exhibit at Satellite, is just one of many instances of the red square in visual art. Another is the cover of seminal New Wave band Talking Heads’ first album, Talking Heads: 77. Informed by notions of the death of painting at the time, many artists and art students, members of the band among them, took an interest in conceptual art. Designed by guitarist/vocalist David Byrne with assistance from keyboardist Jerry Harrison, the cover of Talking Heads: 77 features the album’s title in gold on a solid red background, reflecting the band’s preference for the minimal-conceptual.
Last night, after a long week of take down and set up, we finally had the pleasure of seeing Andrea Pinheiro & Damian Moppett’s works for the opening reception of Not Photographs. We’ll be taking an in-depth look at the show next week, with a review by one of our contributors and interviews with the artists.
For now, here are some photographs from last night’s exciting opening reception.