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    April 1 - 24, 1993

    The Heliotropic (Part 1)
    Group exhibition: Millie Chen / Warren Quiggley, Susan Gold, Paul Mathiesen, E. Von Michalofsky, Carl Skelton, Janet Werner, Tim V. S. Westbury.
    Various Media
    Main Gallery


    Canadian Artists
    Limited edition artist made book: The Heliotropic

    The Heliotropic (Part 1), Evelyn Von Michalofsky, installation view of "Enfleurage", 1993. Photo Peter MacCallum.
    18K
    The Heliotropic (Part 1), Paul Mathieson, "Heliocamera: Light Apparatus to Produce and Record Shadow (=History) On A Cartograph", 1993. Photo Peter MacCallum.
    18K

    The Heliotropic (Part 1), Jan Werner, installation view, 1993. Photo Peter MacCallum.
    18K
    The Heliotropic (Part 1), Susan Gold, "Specimens", 1993. Photo Peter MacCallum.
    18K

    MEDIA RELEASE

    The HeliotropicCurated by Jennifer McMackon

    Part I April I - April 24, 1993Opening April 1 at 8:00 pm

    Part 11 April 29 - May 22, 1993Opening April 29 at 8 00 pm

    The Heliotropic an exhibition in two parts which takes as its starting point a matrix of issues brought together under the term 'heliotropic'. By definition, a heliotrope is a form of quartz know to mediaeval doctors and lapidaries for its divining properties; the sundial, the first device ever invented for the systematic measurement of time; a plant whose flowers follow the movement of the sun in the sky.

    In the summer of 1992, curator Jennifer McMackon published a call for submissions, inviting artists to address cultural and aesthetic issues encompassed by the term 'heliotropic': the validation of truth, the measurement of time and the economies of growth and light.

    The exhibition includes mixed media installation work by artists from across Canada as well as the United States. Works in the exhibitions draw on popular imagery such as a multi-coloured Popeye, adopt the strategies of medical technologies, incorporate the production of perfume, operate on solar power or reconfigure the operation of clocks.

    In her catalogue essay, McMackon likens her curatorial methodology to a hand extracting from the 'tropic pool':

    A call for submissions can be viewed as a figurative play whereby points of reference are exchanged for artistic proposals.



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