A Vancouver Draw Down report…
On Saturday June 14 I spent the afternoon at the Yaletown-Roundhouse Station with CAG Development Assistant, Olivia and CAG volunteer, Alex as a part of Vancouver Draw Down: the annual city-wide event that invites Vancouverites of all ages to take part in various drawing activities.
The CAG’s contribution to the day-long event was Boulevard Station a drawing workshop that saw participants trace over the top of Marian Penner Bancroft’s installation Boulevard at the Canada Line’s Yaletown-Roundhouse Station.
Boulevard, a work of mirrored and kaleidoscoped Golden Elms and Sequoias trees, was a perfect venue for our tracing activity. All afternoon we traced different areas of Bancroft’s mural with charcoal, conte, pencils, markers or whatever else people wanted to work with! We got some amazing, creative and beautiful images! Even if the same spot was retraced, they still turned out looking unique and captivating. After each trace was finished we added them to a piece of plywood and created our own hybrid kaleidoscope community tree. It was amazing to see all the different styles, colours and lines that make up one abstract tree, see above for pics from the day and of the drawings made.
We had a great time and I can’t wait to be a part of more public program events at the CAG!
The Contemporary Art Gallery presents a major new commission for the Yaletown-Roundhouse Station by influential Vancouver–based photographer Marian Penner Bancroft.
Since the late sixties, Penner Bancroft has defined herself as a photographer, dedicating her practice to the medium, meditating on its conventions while also considering the dematerialization of the art object; combining conceptual art strategies as well as pushing the presentation and production of the photographic image into more immersive forms. She is known for drawing attention to the lines between where an image begins and what constitutes an image – at times using the physical framing device as a tangible three-dimensional photographic field.
The subject of Penner Bancroft’s work often resides in the personal, following her family, tracking their daily movements both real and, in the case of her ancestors, imagined. She embeds these inquiries into images of the landscape, using visual traces of a colonial transit to and across Canada as part of an individual yet generalized narrative of immigration and displacement. In recent years she has widened the scope of her research to include the histories of the fur trade, farming, music and religion in relation to the landscape and mapping.MORE