SYNOPSIS OF THE PRESENTED WORKS
One day I woke up from my deepest dream ...
.... my dream was reality.
So, I'm in a strange house.
Rooms have no windows, no doors - like in prison.
Not even walls, no ceilings, no floors - like in a field.
There is nowhere to run and nowhere to hide ....
all around premenstrual silence
... just sky is getting closer ...
Gints Apsits was born in 1977 in a mental hospital town in
Latvia. “My father teached me excellent graphic design
because he is a truck driver. Since early beginning everybody
wanted to imprison me in art schools, but I felt natural born
antipathy to standard education. Advertising industry teached
me to think fast the things that I don’t wanted to think
at all. I realized that best ideas come without using the
head.” When he was nineteen he started to work as art
director in several Latvian advertising agencies. Gints approached
several disciplines such as graphic design, video, animation
and illustration collaborating with the Institute of Living
Voice in Antwerp. His works have also been exhibited at the
2002 Fabrica London Festival and published on the Fabrica
web site. Today he is successfully freelancing motion graphics,
illustration, art direction from Riga, Latvia.
THE CITY (OSAKA)
An animated fantasy that shows Canadians as urbanized people
developing a vast wilderness with the aid of the latest technologies.
Shown as part of the Urban Environment exhibit in the Canadian
pavilion at the international exposition, Osaka '70.
Kaj Pindal has been presented with the Emmy Award for Outstanding
Children's Animated Program for "Peep and the Big Wide
World", a half-hour animated children's show, which introduces
pre-schoolers to a range of science topics. Peep actually
dates back to 1962 when Kaj Pindal, developed the character
while working at NFB, and was narrated by Peter Ustinov in
1988. The show currently airs around the world. Kaj Pindal’s
many film credits over the course of a fifty-eight year career
include "What on Earth" (1968 – nominated
for an Academy Award); "Twice Upon a Time" (1982),
produced by George Lucas; and "Goldtooth", winner
of the 1996 UNICEF Award.
LOTS: I SEE WOMEN WITH KITCHEN APPLIANCES
The suited-and-tied artist is central to this piece. While
escaping through an underwood, he stumbles upon and observes
from behind a bush the half-animals half-muses Women with
Kitchen Appliances. The scene is a directed improvisation.
Somewhere between presentation and representation, different
levels of consciousness and ambiguity are juxtaposed. Gubash
operates in an interspace, a realm that is half-real, half-pretended.
Visual artist. Born in 1969, Novi Sad Yugoslavia, now lives
in Montréal Canada. He works in photography, video
and performance. He has exhibited across Canada, including
solo exhibitions in Montréal (Musée d’Art
Contemporain de Montréal and VOX), Québec City
(VU and Manif D’Art), Toronto (YYZ, Gallery 44 and TPW),
Saskatoon (Paved Art + New Media), Calgary (Stride), Vancouver
(Access), Victoria (Open Space), and internationally in Helsinki,
Finland (Galerie Hippolyte). He has upcoming exhibitions in
2007 at the Mendel Art Gallery (Saskatoon) and Galerie 3015
(Paris France). A monograph will be published in autumn 2007
by J’Ai VU (Canada).
In span, water and shoreline of a reflected forest consider
our yearnings for connection to place and to order.
Sandra Gregson works with drawing, sculpture and video, often
combining these into installations or animated videos. She
studied at Nova Scotia College of Art and Design (BFA) and
at York University (MFA). Recent exhibitions include +15/The
New Gallery in Calgary and WARC in Toronto. Her work can be
viewed at www.ccca.ca
and her videos are distributed through www.vtape.org.
An experimental digital video exploring the illusions of cinematic
movement and depth as corollaries of Zeno's paradox: There
is no motion because that which is moved must arrive at the
middle of its course before it arrives at the end. There is
a picture of a tree, seen from a certain distance. The picture
on the tree depicts the scene described in the previous sentence.
Without moving the camera during filming, first by dissolving
between a series of zooms and then by morphing between stills,
we appear to approach the tree until the picture fills the
frame and we are back where we started.
Studied sculpture, drawing and photography before starting
to make films in 1980. Earned a Ph. D. in Film Theory, University
of Iowa, 1994 and has published several articles in academic
film journals. Teaching film and video since 1985. Currently
Associate Professor of Film & Video Studies at Florida
Atlantic University and recently Visiting Professor of video
and installation at the Academy of Fine Arts in Poznan, Poland.
Now residing in Deerfield Beach, Florida with spouse Katie
Travis and dogs, Mr. Dog and Stinky.