Department of Studio Arts
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Browsing Department of Studio Arts by Subject "drawing"
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Item Aletheia: the unconcealedness of what-is present(1995) Mallon, DarciThis exhibition, Aletheia: the unconcealedness of What-is present, comprised two ink fingerprint drawings, one entitled Phosphenes and the other entitled, The Braille Pot. These works reflected a study on forms of blindness; blindness in the phenomenological sense as understood through philosophy and as well, as a consequence of the functioning of the brain and retinal system.Item Dementia(1995) Mallon, DarciThe title of the exhibition, ENGRAMS, refers to traces of neural synapses considered evidence of memory formation. The titles and gestures of each of the three inked fingerprint drawing installations represents an American Sign Language concept for a state of memory: Eidetic (visual memory), Fovea (to memorize), Dementia, (to forget). Mylar, lights, ink, and steel, 16 feet x14 feet.Item Engrams(1995) Mallon, DarciThe title of the exhibition, ENGRAMS, refers to traces of neural synapses considered evidence of memory formation. The titles and gestures of each of the three inked fingerprint drawing installations represents an American Sign Language concept for a state of memory: Eidetic (visual memory), Fovea (to memorize), Dementia, (to forget). Mylar, lights, ink, and steel. Fovea: collection of the Art Gallery of Alberta. Eidetic: collection of the Alberta Foundation for the Arts.Item Observing three points(1993) Mallon, DarciThis exhibition at the Glenbow Museum comprised seven large artworks: four made with ink on multiple layers of mylar, braced together with steel, suspended and backlit; and three drawn with ink, chalk, and graphite on panels of BFK paper. The subjects, drawn with the artist's inked fingerprints, were small objects, each with a point: a railroad spike, a boat hook and a tack. The development of this body of work was informed by the artist's interest in existentialism and the phenomenology of perception.Item Observing three points(1993) Mallon, DarciThis exhibition at the Glenbow Museum comprised seven large artworks: four made with ink on multiple layers of mylar, braced together with steel, suspended and backlit; and three drawn with ink, chalk, and graphite on panels of BFK paper. The subjects, drawn with the artist's inked fingerprints, were small objects, each with a point: a railroad spike, a boat hook and a tack. The development of this body of work was informed by the artist's interest in existentialism and the phenomenology of perception.Item Our red scarf(1997) Mallon, DarciInstallation with detail: four layers of mylar braced with steel were suspended five feet from the wall with three theatre lamps mounted on a ceiling track that aimed light onto the wall. That light reflected to backlight the large drawing, and at the same time, directly lit the small drawing on the wall.Item Our red scarf(1997) Mallon, DarciInstallation: four layers of mylar braced with steel were suspended five feet from the wall with three theatre lamps mounted on a ceiling track that aimed light onto the wall. That light reflected to backlight the large drawing, and at the same time, directly lit the small drawing on the wall.Item Our red scarf(1997) Mallon, DarciThe artwork behind the large, suspended panel is a small drawing of the artist’s sister, made when they were children. Installation: four layers of mylar braced with steel were suspended five feet from the wall with three theatre lamps mounted on a ceiling track that aimed light onto the wall. That light reflected to backlight the large drawing, and at the same time, directly lit the small drawing on the wall.