MEGHAN PRICE | PART TIME, DEEP TIME
KATZMAN CONTEMPORARY
YI XIN TONG | THIN AIR, BRIGHT LIGHT

Katzman Contemporary presents two new solo exhibitions that visually excavate the terrain of geology. Featuring a stitched paper metamorphic boulder, a stratigraphic I-beam installation, a series of wire structures with integrated stones, and prints of her wire drawings, Meghan Price’s Part Time, Deep Time – her first solo exhibition at Katzman Contemporary – showcases her unique pattern making process in relation to geological migration. Exhibiting new carved inkjet prints (excavations in geology and anthropology), and animated GIFs (depictions of human-environmental interventions), Yi Xin Tong’s Thin Air, Bright Light – his first solo exhibition in Toronto – explores the discrete interlacing of culture and nature.

MEGHAN PRICE | PART TIME, DEEP TIME

Meghan Price, Erratic, wire and stone, 7 ½” x 20 ¼”, 2015

Meghan Price, Erratic, wire and stone, 7 ½” x 20 ¼”, 2015

Meghan Price combines textile techniques with non-traditional materials to make sculpture, prints, and paperless drawings. Rooted in craft practices and theory, her work favours physical modes of inquiry, and looks to reveal meaning through material and process.

Exhibition Statement:

The visual and haptic language of textiles is at the foundation of my practice. Deeply embedded in culture, and rich in structure, narrative, and knowledge, textiles are a potent medium with which I define, investigate, and describe ideas. Printmaking is a secondary method that I use to work with pattern. I am interested in how meaning is shifted when images and forms are translated from one medium to another, and in the historical relationship between print and the recording of knowledge.

Pattern is a point of entry through which I explore the natural world and its representation. I am interested in pattern as residue and evidence, and conversely, in the ways in which it is used as a shorthand in disciplines including the natural sciences. I am interested in how pattern can be a physical outcome, and in this way be revelatory, and how it can be used as a stand-in or symbol, and in this way be reductive. Working between these two types of pattern, I seek to animate, complicate, embody, and relate to phenomena that have been made still, simple, and abstract through the pursuit of knowledge. My work celebrates flux, the tacit, the experiential, and the unknowable.” – Meghan Price (2015)

Biography:

Meghan Price earned a MFA from Concordia University (2009), and a degree in Textile Construction from the Montreal Centre for Contemporary Textiles (2003). Her work has been exhibited in Canada and the U.S., Turkey, Ukraine, Italy, Cuba, Sweden, Argentina, and Australia. Price has been the recipient of awards and grants from institutions including: the Canada Council of the Arts, the Conseil des arts et des lettres du Québec, the Ontario Arts Council, and the Toronto Arts Council. She has held residencies at: Artspace, Sydney, Open Studio, and the Scottish Sculpture Workshop.

 

YI XIN TONG | THIN AIR, BRIGHT LIGHT

Yi Xin Tong, Piano Factory II, carved inkjet print on paperboard, red nails, 30” x 39”, 2015

Yi Xin Tong, Piano Factory II, carved inkjet print on paperboard, red nails, 30” x 39”, 2015

Yi Xin Tong works with moving and still images, sound, three-dimensional objects, and words. Cultural and natural landscape, metaphysics, musicality of the mute, visual art as writing, and the dialectics of poetry and naïveté are subjects he is studying. Yi Xin is attracted to the phenomena of knowledge formation in relation to human history, and his work derives from the elusive clashing of discrepant epistemologies. Drawn to the historical scent of archival materials, he collects and forges dispersed knowledge fragments to create new and fictitious scenarios.

Exhibition Statement:

“Leaning in a corner of a basement room, a branch of a birchleaf pear tree has been dissipating fragrance for over a year. It was blown off from the only tree in a nearby park during a hurricane. The estimation of the date whereon it will stop its dissipation is possibly the most meaningful question one who lives in the room could engage in. And the only method of testing the ending is to smell. Observing the outside through ears only, I realize how distracting a window normally is. I start imagining what is going on on the other side of the walls. Only having one side, the walls in a basement are pure and mathematical. The room is not enclosed air, but excavated land.

In contrast, here you don’t see any thing but a color, a vast white. Perpetual daylight shines upon the total whiteness, another form of blankness. The distinction between background and foreground vanishes, and it’s easy to lose one’s sense of distance and location. Everything becomes graphic and slightly ridiculous. It creates a horror similar to the act of screaming that is silent. People feel they are having an experience in a virtual space, where their body cannot be hurt. Frostbites, numbness, vertigo, hunger, they only work as nitrous oxide and lead to psychotic laugher that can last as long as the perpetually hanging sun.” – Yi Xin Tong (2015)

Biography:

Yi Xin Tong is a visual artist, musician, and poet living in New York, NY. He received his MFA from New York University (2014), and BFA Honours from Simon Fraser University (2012). His work has been shown at: the Museum of Contemporary Canadian Art, Dumbo Arts Festival, Embassy of Canada in Berlin, Galerie de La Rotonde de Stalingrad, 80 WSE Gallery, Rosenberg Gallery, Pingyao International Photography Festival, Audain Gallery, Gallery 44, VIVO Media Arts Centre, the Alchemical Theatre Laboratory, W2 Community Media Arts, and Centre for Art Tapes. He received the: Joan Mitchell Foundation Scholarship, Takao Tanabe Award in Visual Arts, Bice Caple Awards, British Columbia Arts Council Scholarship, Orange Corporation Annual Award in Visual Arts, and May and Samuel Rudin Foundation Multimedia Technology Scholarship. Tong was also the British Columbia winner of the BMO 1st Art! Invitational Student Art Competition in 2012.

For additional information, or to inquire about this exhibition, preview opportunities, and/or general gallery questions, please contact us at info@katzmancontemporary.com.

Meghan Price’s exhibition is presented with the generous support of the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council.