OPENINGS: Arbor Vitae by Grace Nickel // PLUNDER DUPES by Ian August // Planned Parenthood by Erica Mendritzki

Nickel’s monumental ceramic installation Abor Vitae is featured alongside new porcelain work made in China and seen for the first time in Winnipeg at Actual Contemporary. Simultaneously featured are new bodies of artwork from another two of Winnipeg’s talented artists— on exhibition are Erica Mendritzki’s

thoughtful and haunting drawings and Ian August’s sculptural replicas and paintings of Mesopotamian antiquities. These artists come together to kick off Actual Contemporary’s exciting third year of programming.

Join us at 7PM on January 22nd for the opening reception!
MAIN GALLERY: Arbor Vitae by Grace Nickel

Nickel's work advances her investigations of natural forms pitted against artificial construction and surfaces separated from and reintegrated with forms. The large-scale porcelain sculptures and tile installations negotiate the relationships between the natural and the fabricated, the austere and the embellished, flowing and frozen, hard and soft, two-dimensional and three- dimensional. She has been investigating new and experimental technologies, including fabric-formed mould making, vacuum forming, 3-D printing, and laser marking. Her explorations of these methods have led to a paradigm shift in her practice. Using non- traditional techniques that begin with materials other than clay, but are ultimately translated into porcelain, has changed the way she thinks.

In this solo exhibition of new paintings, PLUNDER DUPES is an attempt to identify and create replicas of the 3000 Mesopotamian antiquities that were looted from the Baghdad Museum during the 2003 American led Invasion of IRAQ.
GALLERY 3: Planned Parenthood by Erica Mendritzki

Erica Mendritzki carefully dissects herstory and presence within a typically male occupied art canon by deconstructing perceived economic value, gender and geography. With precise academic discipline, Mendritzki carefully reinterprets and reinvents a visual narrative with the symbolic fragments she unearths from the rich soils of art history. The use of text occasionally weaves though her paintings and drawings as poetic fragments or personal archival notation. Mendritzki’s tableaus are made up of a colour palette of greys and muted earth tone browns, layers upon layers of figurative fragments barely visible through the weight of lost stories that hang in a space between suspended thought and discovery—like old pottery shards or ancient bones waiting to be dug up and dusted off—curious historical distortions looking to be understood and rediscovered.

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Exhibitions open January 22, 2016 and run thru to March 19, 2016.

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300 Ross Avenue, R3A 0L4
22 January , Friday 19:00

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