By Fiona McLay
Con·ver·gence – the process of coming together or the state of having come together toward a common point. Considered mathematically, “convergence” is the property or manner of approaching a limit, such as a point, line, function, or value. Physiologically, it’s the coordinated turning of the eyes inward to focus on an object at close range, and from a biological denotation, it’s the adaptive evolution of superficially similar structures. The process that brought the graduating bachelor of fine arts class toward their common point, limit, or focus, was an adaptive evolution comprised of many endless hours that if added together would surely equal infinitely more than the four years necessary to obtain a degree. This convergence of time and talent is the aptly named Convergence Art Show on display at the Nickle Arts Museum.
The show highlights the work of 27 artists from over the past year in mediums as diverse as the subject matter. Graduate Shelagh Cherak identified this as one of the show’s main attractions.
“The diversity of the show speaks for itself–there are paintings made from wax and Kool-Aid, sculpture from a pile of dolls and then there is conceptual art about missing children,” she says, adding that her own contributions to the show are large painted cityscapes depicting views from the Calgary Tower. “They are north, south, east and west views, and when you first look at them you see the building up of a city; but at the same time there is also the suggestion of disintegration, for nothing we build will endure forever.”
The duality present in Cherak’s work is energetically integrated through a flurry of loose brushstrokes making it impossible to tell if this is the scene of a thriving city, or one left to seed. Three of the four paintings can be viewed presently in the Nickle. The north view remains in Cherak’s studio awaiting it’s finishing touches.
As showcased by Cherak’s work, there is a concerted effort placed on innovation in the show. Many of the artists have experimented with new techniques, pushing the known boundaries of their medium. Jonathan Groeneweg has pursued a variation of panoramic photography. He believes an aerial perspective de-objectifies the subject, turning it into an abstract form. His inventive technique has earned Groeneweg an undergraduate research award.
“Instead of the camera remaining in one spot and panning the image, I would stand above and shoot a frame then move forward and shoot another,” says Groeneweg. “Using Photoshop I would finally stitch the images together.”
Then, after more hours than he would care to remember, his pieces finally reach completion. The subject matter of Groeneweg’s works is as fascinating as the process used to capture them.
“I am interested in the natural elements of a subject and how it has also been manipulated by man.” he says. “Organic things can often show man-made traits as well as man-made objects expressing organic behavior.”
Sculpture, photo or traditional paint, every medium has it’s inherent limitations. Sometimes though, the artistry can be in how the limitations are overcome. This was the case for Kaiti Pasqualotto who found that her two-dimensional art was constraining her need for expression. To solve this problem, Pasqualotto teamed up with dance partner Jen Doan to physically express at the gallery reception what was and had been happening in her 2D art. Titled “Looking from the Inside Out,” Pasqualotto and Doan’s performance translated into part autobiographical exorcism and part analysis of the winding and unraveling of identity.
“Personal growth and the process of discovery were what mattered the most,” comments Pasqualotto.
“It was very personal, we had been digging at it since January,” adds Doan.
The space they preformed in was directly in front of Pasqualotto’s 2D images and bled into the audience area. Both performers stress the importance of the audience feeling involved in the piece.
“We made sure to go into the audience to break the boundary between viewer and performer,” says Pasqualotto. “The audience should not have to know the story–Âthe performance should evoke something inside them. Performance is not a linear creation but it is up to the performer to align it for the audience, but it was intense to break that barrier.”
While their performance is over, the space remains untouched. A hairclip, a Band-Aid, a few dolls, scattered yarn and some words written on plexi-glass are physical leftovers, but there’s also an energy present in the discarded material allowing anyone who enters to become a part of what was created.
The graduating class now turns toward the community and beyond. Through this last show they have come together and exceeded their common point and limit, converging in more ways than one.