Evan Lee: Forged Opening Reception | Sunday, November 21st, 2021
2-4 PM | Opening Remarks 2:45pm
We are hosting our first public opening reception since the
start of the pandemic for the exhibition Evan Lee: Forged
on Sunday November 21st from 2-4pm at the Art Gallery at
This is a solo exhibition of photography, painting and
sculpture by Evan Lee, a Vancouver-based Chinese Canadian
artist who explores the limits and possibilities of materials
(particularly lens-based media) through experimentation,
adaptability and an economy of means.
Vaccine passports are required to attend the event. Masks are
required in doors, and we encourage everyone to continue
practicing social distance. Opening remarks will take place
at 2:45pm. This event is wheelchair accessible.
Register here: https://www.eventbrite.ca/e/evan-lee-forged-opening-reception-tickets-199452737507
EVAN LEE – FULL CIRCLE
19 September to 19 October, 2019
Opening Reception 19 September
Monte Clark Gallery is pleased to present an exhibition of new works by Evan Lee. Full Circle includes figurative oil paintings that are derived from the artist’s original photography, displayed alongside photographs printed on canvas.
Known as an artist who works in a wide range of media, Evan Lee has been particularly interested in the space between painting and photography. In past projects such the Forest Fire, Flashers and Black Blot/Black Bloc series, Lee improvises with imaging technologies and traditional techniques to create photo-painting hybrids that defy categorization. With his Fugazi and Ginseng Root series as well as his Migrant Ship Re-Creation Project, Lee explores ways to activate the non-rational in photography through his use of lensless and appropriated images. In his new work, digital artifacts and jpegs from the artist’s own photographs are translated into paint and pigment.
In Full Circle, Lee uses technology to invoke the poetic, exploring the people and places of his Vancouver home as subject. In stark contrast to the unexpected colour and surface of the oil paintings, the large photographs printed on canvas are simply enlarged and not altered in any way. Speaking plainly, the they reveal the true nature of photographic depiction while simultaneously reflecting on it. Together, these works continue Evan Lee’s exploration of pictorial possibilities.
Evan Lee, detail, Hole In Glass, 2019, photograph.
Evan Lee, In a Restaurant, 2019, oil on canvas
Shimmer and Paste
Evan Lee and Ben Reeves
Richard Rhodes Dupont Projects
opening November 5, 2016
Vancouver artists Evan Lee and Ben Reeves have left their mark on contemporary Canadian art—Lee for his always-intelligent explorations of post-photographic reproduction and Reeves for his deconstructive approach to painting. Together they represent a generational engagement with the status of the image. Career-long friends despite the often-exclusive camps of photography and painting in which they find themselves, they come together in this exhibition to demonstrate mutual considerations of light and collage.
In his “Phoropter” series, Lee works with images of ophthalmic phoropters used for testing binocular vision. In Lee’s collages however, the spiraling clusters of optics seem to belong to anything but binocular beings. He pushes the post-photographic towards the post-human. With his “Fugazi” works, we see high-end fake diamonds enlarged 1500 percent against geometric backgrounds of Lee’s devising. The result pushes 2-dimensions and 3-dimensions into a merged, indeterminate space, lit by the far-off white light on the original zirconia and the designer colours of the background. The blurring of categories becomes Lee’s analogy of the many-tiered layers of mediated reality.
Reeves brings a painters knowledge mediation that matches Lee’s. Where in the past he has broken painting down to its brush stroke by brush stroke accretion, his new work give us seaside beach views painted on burlap with overlapping elements of fine-grained painted canvas. The horizons in the pictures are as far away as the white light in Lee’s diamonds. Depicted space becomes a negotiation of textures, materiality, colour and pigment. The disjunctions of the collage elements, however, are paradoxically naturalized by the landscape setting where we are used to seeing intrusive trees interrupt the view. Reeves’ paintings let us think about the interruptions and about the sustained continuities that take our eyes as far as they can see.
About Richard Rhodes Dupont Projects
Launched in 2016 as part of the new Dupont St. gallery scene in Toronto, Richard Rhodes Dupont Projects is devoted to a developing exhibition program of contemporary Canadian art. Founding editor of C Magazine and editor of Canadian Art from 1996 through 2015, Richard Rhodes brings his expertise to exhibitions by emerging and established artists from across Canada and abroad. Rhodes offers audiences and collectors an informed critical eye that has launched and nurtured numerous careers in the Canadian art world over the past three decades. www.dupontprojects.com.
For more information:
Richard Rhodes Dupont Projects
1444 Dupont St.
Toronto ON M6P 4H3
Evan Lee, from Fugazi, 2015, archival pigment print
Monte Clark Gallery is pleased to present an exhibition of new work by Evan Lee.
Lee’s new series Fugazi consists of visually stunning 5-by-5 foot prints created from digital scans of cubic zirconia, relatively inexpensive but high quality imitations of diamonds (“Fugazi“ is a slang term used in Mafia films for counterfeit diamonds.) The images are captured at a high level of detail and enlarged fifteen thousand percent to a scale that renders the gems’ internal appearance mesmerizingly random, distorted and fractured, while the effects of digital image-loss and artifacting emerge to aid in their visual transformation. The patterns of abstract shapes and reflected colours appear kaleidoscopic and at times groundless, an aesthetic that Lee manipulates further by constructing geometric backgrounds in response to the resulting visual space.
Lee’s project reflects on his earlier works, such as the Dollar Store Still Life series (2006), which also examined the economic and cultural values of fake and artificial consumer goods. Fugazi also continues Lee’s take on representations of psychedelia, illusion and optics, as explored in such earlier works as Every Part from a Contaflex Camera… (2006), and the Stain (2003) and Phoropter (2012) series. Lee’s practice has always been positioned both alongside and against the grain of photography, and Fugazi continues the artist’s image production in the avant-garde reaches of the post-photographic or camera-less digital realm. Contrary to the reproducible nature of photography, each of the Fugazi prints, made on fine art paper, exists only as a signed unique edition of one.
Alongside Fugazi, Lee will also present works from a complementary series entitled Ichiban. In these new works, Lee mixes paint and instant ramen noodles with other found objects to create experimental sculptures that consider the artificial nature of “instant” food, as well as reflecting on ephemeral form and temporality in the artworks themselves. Taken together, both Fugazi and Ichiban allude to the complex relationship between that which is “real” and that which is “artificial” in our contemporary culture and art.
Evan Lee lives and works in Vancouver, B.C. His first major solo exhibition “Captures” was held at the Presentation House Gallery in North Vancouver in 2006, and included catalogue essays by Jeff Wall and Peter Culley. Since then, Lee has exhibited in numerous museums and institutions including the Vancouver Art Gallery, the Art Gallery of Windsor, the Contemporary Art Gallery, the Surrey Art Gallery, the Richmond Art Gallery, the Confederation Centre for the Arts, the Liu Hai Su Art Museum, and at the Winnipeg Art Gallery as a Sobey Award Finalist in 2014. Lee’s work has been published in Canadian Art Magazine, Art on Paper, Border Crossings, Flash Art, Yishu Journal of Contemporary Chinese Art and numerous other venues.
2014 Sobey Art Award
The 2014 Short List:
West Coast and the Yukon: Evan Lee
Prairies and the North: Neil Farber and Michael Dumontier
Ontario: Chris Curreri
Quebec: Nadia Myre
Atlantic: Graeme Patterson
Winnipeg Art Gallery
November 1, 2014 – January 11, 2015
JULY 12 — AUGUST 9, 2014
TALK: SATURDAY JULY 12, 1PM
FOLLOWED BY OPENING RECEPTION: 2PM — 4PM
In Evan Lee’s solo exhibition of new works at Monte Clark Gallery, the artist recreates, transforms, and expands upon found news media images depicting protest and migration through sculpture, mixed media, and paintings.
In contrast to popular, ubiquitous images of revolution and provocation (such as Alberto Korda’s portrait of Che Guevara, or the graffiti works of Banksy), the found press images that Lee refers to are markedly non-iconic, from nameless and faceless Black Bloc protesters to migrants whose identities have been obscured by the press. Lee approaches these images from a perspective of speculation, creating artworks that either reconstruct or further obscure the subjects. This dual process amplifies the missing details and facts that are not included in the original press images or their accompanying news stories, pointing to an inherent confusion or lack of clarity surrounding the actual events.
This exhibition includes large-scale black and white paintings where silhouettes of marching Black Bloc protesters have been repeated in a motif that borders on abstraction; mixed media works where ink and gesture further obscure printed depictions of individual hooded and masked protesters; a 3D printed model of the Ocean Lady vessel which carried Tamil asylum seekers from Sri Lanka to Canada in 2009; earth-toned, classical style oil portraits of the same migrants created in composite from blurry or pixelated press images and online searches; and a video that recreates the burning of a Danish flag, which was originally enacted by protesters in response to anti-Muslim cartoons that were published in Denmark. The works engage in a dialogue with news media images of protest, the interpretation of these images, their biases and their influence.
Evan Lee lives and works in Vancouver, BC Canada. He has been published in Canadian Art Magazine, Art on Paper, Border Crossings, Flash Art, Yishu Journal of Contemporary Chinese Art and numerous other venues. Lee has recently exhibited at the Vancouver Art Gallery, the Surrey Art Gallery, the Presentation House Gallery, and the Richmond Art Gallery. Lee is shortlisted for the 2014 Sobey Art Award and will be exhibiting with the other finalists at the Winnipeg Art Gallery in the fall.
For exhibition previews, please contact Matt McGale
[email protected] | 604-730-5000
For further press info and images, please contact Lindsay Inouye
[email protected] | 604-730-5000
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Monte Clark Gallery · 105 – 525 Great Northern Way · Vancouver, BC V5T 1E1 · Canada
Installation Views, Elders and Roots, Richmond Art Gallery 2014