VIVIANEART

Our final exhibition “dénouement” wraps up tomorrow. Thank you for the absolutely incredible, kind, warm and gracious reception we have enjoyed. Much love back ❤️

Diane Landry’s multidisciplinary practice spans film, audio, performance, kinetic sculptures, installation and photography.

Exhaustion Rain is a documentation piece of Landry’s installation Exhaustion, a large moving sculptural work suspended from above and made from everyday objects such as plastic cutlery.

Exhaustion rain is on view as part of our final exhibition dénouement, closing Sunday, February 23.

Exhaustion rain, 2014
inkjet photograph on museo silver rag
33.5 x 44”

Sadia Fakih’s “Untitled (Sleep is the little brother of death)”, 2023-2024, is on view as a part of the gallery’s final exhibition, “dénouement”. Fakih’s intensely intricate collage-drawings explore cultural hybridity, displacement, intersectionality, and the Surreal. Semi-autobiographical, her pieces delve into the idea of an alter-ego and of personal mythology building.
On view through 23 Feb, 2025.

The incredible details of Tyler Bright Hilton’s work included in dénouement.

1. You were there, 2023, silver, gold, bronze, bismuth, and copper on prepared paper
2. Height down, 2016, gold and silver on prepared paper

Dénouement - on view until February 23rd!

Artist Sarah Nordean uses the obsessive repetition of small gestures as a way to consider the rhythms of time, labour and place. Small marks accumulate over time into larger organic masses.
On view as a part of “dénouement” thru Feb 23rd.
1) “Foil”, 2024, acrylic on panel, 16”x20”
2)”Wings”, 2024, acrylic on panel, 30”x24”
3)”Mirage”, 2025, acrylic on panel, 30”x24”

Installation view of Coal Futures and To Dig Holes and Pierce Mountains from and included in our group exhibition “denouement” until February 23.

Coal Futures No. 1, No. 3 , No. 2, Hydrostone, artificial nails, coal, acrylic paint, wood, dimensions variable.

To Dig Holes and Pierce Mountains (coal chute rubbings) no. 10, no. 6, no. 8, Charcoal on vellum, 96” x 24”

Alana Bartol comes from a long line of water witches. Her site-responsive artworks explore divination and dreaming as ways of understanding across places, species, and bodies. Through collaborative and individual works, she creates relationships between the personal sphere and the landscape, particularly during this ecological crisis. Bartol holds a BFA from the University of Windsor (Canada) and an MFA from Wayne State University (USA).