SFU Audain Gallery Presents “Collecting Plum Blossoms”, A Dazzling Student Exhibition Of Graduates

A person leans over to adjust a sculpture with a sewing machine
Photo Courtesy of Bachelors of Fine Arts 2022 Graduates

By: Nercya Kalino, Staff Writer

“Collecting plum blossom”, the 2022 exhibition of student works on display at SFU Audain Gallery from April 14-23 showed an intriguing approach to art and the future. The title of the exhibition is inspired by a 2021 artwork by Sahar Rahmanian and symbolizes students’ hopes for the future. The exhibited exhibition various works from 13 graduating artists from SFU’s fine arts program. According to the SFU School for the Contemporary Arts Instagram after“Plum blossoms become a metaphor for the way disparate pieces can come together.” It writes about the special collectivity of presenting with other artists and the ‘sense of the future’ that comes from graduation. Artists chose unique material choices and mediums to create their works.

Before I collected plum blossoms, I’d only been to one other person exhibition, so I didn’t know what to expect. It was wonderful to see different works that express experiences of vulnerability. Each of the stories told reflections of the world. The first work I came across was by Sofia Grace, titled I leave you with everything from me, to youIt implemented wood, gesso and acrylic paint.

I leave you with everything from me, to you by Sofia Grace

The arrangement of the pieces resembled an author’s cluttered desk, accompanied by a memory wall of intimate correspondence between strangersFor the project, Grace sent handwritten cards “with a proposal for friendship” to use for the exhibition. The letters seemed to elevate what the gallery brochure described as an “experimental gesture that seems to generate new connections through an invitation.” Grace used the exchanges and contributions of letters she received to relate the meaning of her work to items in the artwork. The mixed media piece focused “on the idea of ​​the pen pal” to convey this sense of vulnerability, as explained in the brochure.

Revealing Hidden Memories by Ravneet Kaur Sidhu

Ravneet Kaur Sidhu’s work certainly brought back childhood memories

s and feelings to the surface. her artwork, Reveal Hidden Memoriescaught my eye. The wood, metal, and paper she used for the piece were items I played with as a kid. In this piece, the artist connected the domestic and cultural relationships in her life. There was also an element of soundscape that complemented the photos. The largest piece – the wooden picture frame – had several pictures of family members therein. The photos had a brown filter layer on top with a newspaper background as a frame. When I saw this work, I remembered the smell of old newspapers or moments when all our relatives gathered at the grandparents’ house with so much food and lively chatter. The dialogues of a festival celebration in a household in the background brought these memories to life. According to the pamphlet of the exhibition, Sidhu’s approach was to emphasize: “sentimentality” and “the gap between traditional and modern relationships in her community.”

Reformation by Shinaaz K. Johal

Another work I really appreciated was Shinaaz K. Johal’s Reform. This piece of textile was one that I connected with on a deeper level – fabric and texture are an immense identification of culture (or BIPOC communities, myself included). The artist collected the fabrics used on the large canvas from woman family members. What impressed me was the abstraction of the piece: it reminded me of the birth organ† The color coordination and textures of chiffon, silk and velvet gave life. I think the textures paralleled the themes the artist was tackling. According to the exhibition brochure, these themes are were “Indian” culture, empowerment, internal conflict and the body.” As someone who is attracted to abstract works, I was immediately seduced by the artistic elements of the piece, including the materials itself and the deliberate placement of the fabric.

HUES (Emphasizing Omnipresent Emitted Sounds) by Daniel Lin

HUESMarking ubiquitous broadcast sounds) by Daniel Lin was a piece that used a microphone and a projection — a work that made use of color and sound to show new ways of expressing art. The part reacted to noises made by the viewers. They weren’t marbled colors, but rather a portrait of colors that are constantly moving on the sounds, glowing and sliding in and out. The color emission was vibrant in a way that didn’t take away from the movements; it was more of an appeasing emission. The aspect of technology in art is shown through Lin’s attempts to experiment with the inputs and outputs of the camera feed and microphone. It was pretty impressive that he was able to tie it all together to show the possibility of going beyond the limits of medium functionality.

The other works exhibited in the Audain investigated the idea of ​​identity and the public in contemporary spaces. By observing these works, I learned more about the innovative forms and performances of art in modern society. The exhibition included broadened forms of media as tools to spark new ways of thinking about identities.

Follow the exhibition Instagram . to learn more about and see some of the pieces on display page and SFU School of Contemporary Art Instagram page

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