zachary longboy, Oliver Hockenhull, Phillip McCrum & Mina Totino: Exhibition

The following text is taken from Front Magazine vol. V, no. 1, p. 12, September/October 1993:

In the seventies a flush of excitement surrounded new technologies of instant reproduction such as video, polaroid and colour photocopy. In 1979 the Western Front had one of the early colour copier exhibitions. While video and polaroid became personal technologies, colour copy continue to develop in a business environment. For this exhibition Xerox Canada has donated a 5775 colour copier for these four artists, who’s work varies greatly and intent and media, to reacquaint themselves with the vastly expanded capabilities of the modern Xerox copier. This is an exhibition in progress and the gallery will function as the artists’ studio to which visitors are welcome.

zachary longboy–i continually apologize for not being First Nations enough; realization–what is enough? i continually apologize for not being white enough; realization–what is enough? no sorrow at this moment, instead recognition of the extremes of difference that our presence within our community. the work i do is the search between two diverse cultures, combining aspects from both.

Oliver Hockenhull–The moment I saw the Xerox 5775 I knew this was the machine for me. I know people don’t have faith in the promise of tomorrow today anymore, but really, what else is there? I can no longer abide the burden of the original. Should I just lay down on the glass plate and hope to finish with the current rounds of my life?

Phillip McCrum–The method of creating the image becomes an overriding concern. A change in status is provoked through the use of poor or impoverished materials and amateurish construction methods to undermine the sense of expectation. The viewer is confronted with a catastrophe within the closed system of the gallery. The art works at eroding value and refuting co-option and cultural standardization.

Mina Totino–The eye rushes for the most comfortable vision but can be unsettled by even the slightest of distortions. In previous work the “real thing”, has been made even more strident by the attachment of fringe or for to the canvas, creating an irrefutable but non-transcendent surface which has been contextualized, that is to say, trimmed, lined, laced, and aggravated.

This exhibition supported by Xerox.