24 October 2012

PLATFORM Off-Site Projects continue 
with Tracy Peters' SHED II

Friday 26 October 2012 from 5PM - 8PM 
@ the artist's studio: 63 Albert Street, suite 409

** This building has an elevator and is accessible, five steps maximum from the street**
location shot, SHED research

PLATFORM is excited to announce the continuation of the series of off-site projects programmed in conjunction with our palimpsest year of research.

We understand the palimpsest as a re-writable scroll that is erased only to make room for more information on a continuous basis. The palimpsest, by nature, is both performance and a document – it is an action and a record. The artists we are currently working with conceive of the palimpsest as the collapsing of time (and space), and understand photography and video as the contemporary medium for exploring this concept. The artists whose work we are programming deal with time, record keeping, and collections, in order to problematize easy readings of history, authority, and even consciousness through photography and video.

This month PLATFORM will present the second part to Tracy Peters' site-specific research that took place at a 100 year old shed in Charleswood earlier this summer. Peters has collected data, and gathered material from her four months working in the shed and transposed the findings into an installation in her Exchange District studio comprised of various photographic techniques, including lumen prints,  altered digital prints, as well as video projection.


Tracy Peters, lumen print 2012

About the project:

Tracy Peters  began a four-month site-specific installation in an abandoned shed near her house in Charleswood. For Peters, the shed is a contentious site as it represents a turning point in her neighbourhood (an established community near the edge of the city that is now rife with corporate interest, facing certain deforestation, wild-life displacement, and unappealing suburban housing development). Peters spent the summer months documenting this 100-year old shed as a living palimpsest. The water stained floorboards and broken windows, the clumps of foxtails (a pollen-like loose burr that blankets the floor of the nearby forest, and is sharp to the touch) were all photographed and filmed in order to have the images processed and printed so that she was able to  reconstruct aspects of the shed in her urban studio using experimental three-dimensional photo collage as well as short video loops. This displacement [from the shed to the studio] offers a mirroring or parallel understanding for the deforestation taking place in the shed’s vicinity.

About the artist:

Tracy Peters is a Winnipeg-based artist who uses photography, sculpture and installation to explore connections between lived-in structures, the natural environment and the human body. Many years of darkroom practice initiated her research into fragile materials and the emotive power of surfaces, but her 2010 site-based installation, Transience and Resistance, expanded her investigation into temporary dwellings and the ways that architecture functions as a living system. Through her photographs, Peters works to evoke an experience that moves beyond the physical boundaries of architecture.  She has exhibited at The Pavilion Gallery, Martha Street Studio’s Project Room, and in local, national and international group exhibitions. http://www.tracypeters.ca/

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