Mnemonic (Re)Manifestations

January 28 to March 6, 2016

Vernissage: Thursday, January 28, 5:30 to 7:30 p.m.
Exhibition tour with the artist: Sunday, February 7 at 2 p.m.

Mixed media artwork by Barry Ace.

Urban Bustle, 2012, feathers (turkey, duck, chicken), wood, plastic, metal, electronic components, video screen, wood, beads, thread, horsehair, dew claws, wire and paper, 244 x 122 x 92 cm. Photo: Caleb Abbott

Mixed media artwork by Barry Ace.

Memory Landscape Suite, 2014, digital prints on archival canvas, beads, thread, wood, deer hide and metal, 33 x 81 cm. Photo: Toni Hafkenscheid

Catalogue excerpt

Traditions exist in a state of constant flux. They endure because they are repeated – passed on from one generation to the next – and yet with each unique repetition they also necessarily change and transform. In the Anishinaabeg worldview, transformation signifies power. We see this concept reflected in our stories of manitous and spirit beings who possess the ability to shapeshift and metamorphose. Much like these powerful entities, the Anishinaabeg have also maintained this profound capacity for change and adaption.[1] As memories recall and drum up traditions of the past, the ongoing rhythm of cultural continuity manifests memory newly in the present. In the solo exhibition Mnemonic (Re)Manifestations the latest works by artist Barry Ace illuminate the confluence and permeability of the historical and the contemporary, and further explore the continual stir of memory and tradition.

[1]Michael Witgen, An Infinity of Nations: How the Native World Shaped Early North America, (Philadelphia: University of Pennsylvania Press), 2012.

Excerpt from the essay by Alexandra Nahwegahbow

Biography

Barry Ace is a practicing visual artist and the recipient of the K.M. Hunter Visual Artist Award for 2015. Drawing inspiration from multiple facets of traditional Anishinaabeg culture, he creates objects and imagery that utilize many traditional forms and motifs. He then disrupts the reading of these works with the introduction of other elements, endeavouring to create a convergence of the historical and the contemporary. His work can be found in numerous public and private collections in Canada and abroad. He is a band member of M’Chigeeng First Nation, Manitoulin Island (Ontario) and is represented by Kinsman Robinson Galleries in Yorkville (Toronto).

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Karsh-Masson Gallery

110 Laurier Avenue West

613-580-2424 ext. 14167  
TTY: 613-580-2401
facebook.com/public.art.ottawa 

Open daily 9 a.m. to 8 p.m., including holidays.

Free admission.
Wheelchair accessible.
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Karsh-Masson Gallery