Alumni Artist in Residence fall 2018, artist’s talk



Choreography & Paint

Choreographic Studies on Paper and Canvas

By Jeremy Gordaneer

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This body of work started with gestural drawings as a form of documentation or “mapping” of Thea Patterson’s performance work entitled “between the is and could be”. The source drawings were done rapidly with a sharpie, either on canvas or paper, through a process of overlaying the movements of the dancer.  I then continued this layering by going into the lines and picking out certain rhythms, and gestures abstracted from the original figuration to arrive at a new chorographic place, that acts in conversation with the original source material.


This project looks at documentation as a source point, and as a way to think how the document can be something more, or exist as its own entity with its own agency and extends from where it originates. Working specifically with dance, the work also is in fact a dance, or a choreographic study. I am not interested in the truth of the document, so much as how it can slide across forms. This idea of slide comes directly from the practice of Patterson, which in her performance work functions to destabilize the spectatorial contract. Here in the paintings and drawings, one can find the same concept at work in regards to the way the work slides into and away from figuration, form, and gesture.

Jeremy Gordaneer Artist in Residence 2016 Camosun College

“Camosun College Visual Arts 2016 Artist in Residence Jeremy Gordaneer “Ask/Create/Collaborate/Make”

Jeremy headshot

Jeremy Gordaneer was born in Ontario and grew up in Victoria, BC. As the son of Canadian painter James Gordaneer, RCA, he was surrounded by art and began taking an interest in painting at an early age. He attended the Camosun College Fine Arts program in Victoria in the early ‘90s, and has traveled extensively throughout Europe, Africa and America in order to study art and hone his craft. He spent a decade in Victoria as a member of the Chapman Group, a loose collective of artists and writers, who met weekly to study art, philosophy, physics and theology, as well as to provide a rigorous critique of each other’s work. During this time, he studied Theatre at the University of Victoria, and continues to support himself through scenic art and design for theatre and dance, while also painting, sculpting and drawing on a regular basis.

For many years, the central focus in Jeremy Gordaneer’s art has been an effort to explore different ways to ground into being the idea of a continuum. He often subverts the traditional dichotomies of painting and sculpture — figure/ground, background/foreground—in order to create new pictorial spaces which reveal aspects of the contemporary world. Beginning with drawing and painting, and often moving towards a more three-dimensional sculptoral approach, Gordaneer now often combines the two media. The inclusion of found objects in the sculptures gives the viewer an entry point to the work, calling into question notions of scale and meaning.  Recently he has launched into large-scale immersive performance projects with longtime collaborators Peter Trosztmer and Thea Patterson. Called #boxtape, this project combines sculpture and dance through the commonplace medium of packing tape, creating installations that act as set, sculpture, and character at once.


to dream big you have to look in all the cracks

Alysha Farling Artist in Residence

2015 Visual Arts Camosun College

Collecting “bits” is an ongoing process for artist Alysha Farling. “Anything can be material”, she says. Look at her work and see china cups, plastic spoons, ear buds, hair, buttons, fur, fish bones, moss, glue gobs, foam eruptions, popcorn, cigarette butts…

The streets are her collecting grounds and every day Farling is hustling’ up little crumbs, transforming bits of garbage into surfaces and structures shaped with chicken wire, papier mâché cardboard, fabric rubber and hot glue.



IMG_1546 IMG_1550Her structures resemble lairs, bee hives, and wobbly towers, trees with tails and houses with tentacles.


The house, according to Bachelard in The Poetics of Space is “the human’s being’s first world, it is body and soul.”  Farling’s combination of architectural and visceral forms compose  a “House-Body” with doors, windows, staircases and balconies but also and more terrifying a house-woman with legs, guts, holes, hair and eyes. The holes reveal a dark cave like interior alluding to tension between hollow and solid, inner and outer. Perhaps further in is a secret house hidden inside the house, where an altercation between body and penetration, like an act of sex and birth takes place.

Farling’s family house of her childhood is a source of inspiration and she also cites The Borrowers, a children’s fantasy novel by English author Mary Norton, published by Dent in 1952 as influential. It features a family of tiny people who live secretly behind the walls of an English house and “borrow” from the big people in order to survive. Farling, like the tiny Borrowers, repurposes objects to create new forms and values. Local artists and visitors to Farling’s studio contributed to her bits collection – little containers of psychic memories haunting the houses.

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Farling’s numerous sketchbooks contain her physical experiences and sustain her ideas. She talks about a magical, tactile, growing desire to be closer, to be inside the structures she builds – what’s next for her may result in larger walk-inside-caves or interactive grown-up playgrounds

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Regolith, exhibition by 2014 artist in residence Jess Willa Wheaton

Regolith Jess Willa Wheaton
September 5 to October 4, 2014
Opening Friday, September 5

exhibition runs Sept 5-Oct 4 at deluge contemporary art 636 Yates street, Victoria BC

As first defined by American geologist George P. Merrill
in 1897: “This entire mantle of unconsolidated material,
whatever its nature or origin, it is proposed to call the
regolith.” (Merrill, G.P., Rocks, rock-weathering and soils.
New York: MacMillan Company, 1897, 411p)
Named for the Greek words rhegos (blanket) and lithos
(rock), Earth’s regolith can be nearly absent or hundreds
of meters in thickness. It may be initially produced by
processes nearby, or far away, or both, and its age can
range from instantaneous to hundreds of millions of
years old. The presence of this unconsolidated topcoat
is an important factor for most life.

With Regolith, Wheaton continues to plumb the possibilities
of pictorial surface tension, while considering the
mobility of the veneer of the Earth. In her latest collages,
found images are re-inscribed with meaning by the context
of their composition. Implicit to these works’ surfaces
are strenuous compressions, tight fits orchestrated over
eons, quick breaks, slowly drifting layers and sudden
suspensions. Also employing these processes are
paintings, many of them the largest she has exhibited to
date. While continuing to enfold found images, here the
process of painting generates the forces and content of
earthly activity. History, tumult, growth and light spread,
contract and transform each surface into a new spatial
state, depending on location.

Jess Willa Wheaton grew up in California and lives and works in New York City.
She received a Certificate in Visual Arts from Camosun College, a BFA from the
California College of the Arts and an MFA from Hunter College in 2013. In the past
year her work has been exhibited at Zusi Graham, Cologne, Germany and in several
group exhibitions in New York. Wheaton gratefully acknowledges the support
of Camosun College, where she is the current Artist in Residence for 2014.
Hot Tears, Jess Willa Wheaton, 2014,
found images, glue, 19 x 25 cm