28 June 2016
An installation about an unbalanced and fragile world.
View as installed at the Nova Scotia Art Gallery. Halifax
Wall elements: mirror silver transfer on resin, white Conte crayon. 2 x (39 x 39 inches)
One of the two floor elements where we can see a reflected detail of the wall piece, when standing at a privilege point of view.
7 June 2016
Nova Scotia Art Gallery. June 25th 2016- January 15th 2017
My work Black Sea: Portholes/Portals, is part of the show Terroir, A Nova Scotia Survey, opening June 25th at the Nova Scotia Art Gallery, Halifax.
The installation is composed of five elements: two wall pieces, which are being reflected on two round small works on the floor. From a privileged point of view, they look like small planets. These act as a boundary to protect the fragile surface of the wall pieces from being touched. A fifth element Lunette, suggests an observation point, which invites the spectator to be actively involved in looking at (or after) our fragile world.
5 March 2016
“The mirror lays in wait, it is not new, and the silver backing has started to peel off. A person passes by, and stops, looking for the truth of the moment. The images come and go, but there is a subtle shift, always, as shadows and light and faces and forms recast the reflections. There is a built-in retention of the passing images…”
22 February 2016
In my most recent series, a pair of identical round mirrors reminded me of the two portholes inside my family’s cabin when crossing the Atlantic coming back from Germany. My childhood memories of a huge storm, seen from those two round windows, serve as a reference to inform a body of work reflecting issues of our present times. In these explorations, I investigate how the history of a found object, personal stories, and collective awareness intersect in a reconstruction that creates new imagery.
Black Sea. 2016. Diptych. (39 1/2 X 39 1/2 inches). Silver mirror transfer and white Conte on resin.
22 July 2015
In my recent series I extract the silver backings of old mirrors to expose the spirits of the mirrors. I start with the premise that the silver mirror backings have absorbed the energy of the people who looked into the mirrors and that, like old photographic silver processes, this “film” contains information that can be revealed.
During my residency at the MacDowell Colony some of the fellow residents offered to model for me. I photographed or filmed their images on the modulated surface of an old mirror’s silver transfer. I call this mirror transfer “The Seer” for its ability to create Rorschach images where many different characters emerged from each model’s performance.
For this project ”Mirror Tell Me” I created a context in which my role was simply to record the mirror transfer’s aesthetic. The material I have collected from these mirrors now serves as a basis to further develop the video and sculptural components of the work in an installation format.
5 March 2014
13 January 2014
INSTALLATION Presented at/Présentée à Plein SudJanuary 25- March 1 2014 25 Janvier- 1 Mars 2014 150, de Gentilly East, local D-0626 Longueuil (Québec) (450) 679-4480 Opening reception February 15 (3:00 – 5:00 p.m.) Vernissage 15 Février (15 h – 17 h) The installation is composed of two complex of works, Mutherer (Two or Three Things I Know About Her) and Family. Mutherer (Two or Three Things I Know About Her) Installation, sculpture and video projection
Mutherer suggests to be free of inherited patterns and imprints which inhibit creativity.
A mirrored dressing table is the origin of an unfolding family of events. Domestic furniture is dissected to recreate new entities from the experience and free association of the meaning of “Mother”. The different elements exhibited form a sequence of cause and effect which reveal the inherent logic contained within the exhibition.
Painted on three wall panels the contour of the initial mirror-dresser used for Mutherer is then divided into individual elements, and recomposed to form a mural.
L’installation comprend deux complexes d’oeuvres: Mutherer (Deux ou Trois Choses Que Je Sais d’Elle) et Famille
Installation, sculptures et projection vidéo.
Mutherer suggère, psychologiquement parlant, l’idée de s’affranchir des appris qui peuvent inhiber la créativité.
Une ancienne commode/vanité est à l’origine d’un corpus d’œuvres qui forment une famille d’objets hétéroclites. Ceux-ci sont le résultat du démantèlement du meuble, de sa recomposition en plusieurs éléments distincts, et d’associations d’idées liées à l’idée de la mère/matrice. Les différentes composantes de l’œuvre forment une séquence de causes et effets qui suggère qu’il y a une logique inhérente contenue à l’intérieur de ce petit système.
Peint sur trois panneaux muraux, le contour de la commode-vanité à l’origine de Mutherer est alors divisée en éléments distincts, et recomposée pour former une murale.
Review on Akimblog- by Stacey De Wolfe
Just up the street from the MAC at Circa, Denise Dumas’s Waves speaks to some of the same themes explored in Yesterday’s Tomorrows, in particular, to Iñigo-Manglano Ovalle’s film Le Baiser/The Kiss, with its exploration of Mies van der Rohe’s famously unlivable Farnsworth House. According to legend, the house’s original owner was too uncomfortable to actually live in the house because its glass-walled structure made for too much interaction with the always encroaching natural environment. Dumas’ multi-media work also seems concerned with the impact that external elements have on the personal realm, as her table, the heart of domestic life, is continuously intruded upon by the natural world and its forces. But unlike Ovalle’s work, which populates the screen with figures who narrate the story with their actions – a distancing effect that serves to emphasize the fact that because the private is made public, it loses that which makes it private and personal in the first place – Dumas’ empty chairs seem to invite the spectator to imagine themselves in the work.
Stacey DeWolfe is a Montreal filmmaker and teacher. She has written for C Magazine and is the arts writer for the Montreal Mirror