Consume Her Demand
AgentC Gallery
October 23 - December 18, 2015
Using recognizable artifacts and images, the sociopolitical gestures of three artists demand pause and consideration. AgentC Gallery is pleased to present Seattle based artist Mary Coss, Vancouver based artist Monique Motut-Firth, and Charlene Vickers, an Anishinabe Kwe/Ojibway artist based in Vancouver.
Monique Motut-Firth's collage installation, Polly’s Dolls, made from hundreds of meticulously cut-out catalogue images that “layer and weave together disparate image cultures, eras and visual signifiers,” provides an expansive overview of the development of fashion over the course of the twentieth century.
Mary Coss’ collective body of works entitled Public Debt to the Suffragette conflates identity with social conditions. Employing female clothing in bronze corset works and large sculptural umbrella dresses, she examines the relationship between the female form and the drive toward its emancipation.
Charlene Vickers adopts the language of consumerism and then subverts it. Challenging colonization, trade, and modern consumerism, Variations and Traces of Ancestral Selves features intricately beaded moccasin boots modelled in a traditional Anishinabe style, sewn from cardboard beer cases. Her installation Ominjimendaan/to remember presents tall lengths of pointed, sharpened cedar that stand in balance, symbolizing a defensive strategy against violence enacted toward indigenous women.
CURATION | Connie Sabo, Debbie Westergaard Tuepah, with AgentC Projects
October 23 - December 18, 2015
Using recognizable artifacts and images, the sociopolitical gestures of three artists demand pause and consideration. AgentC Gallery is pleased to present Seattle based artist Mary Coss, Vancouver based artist Monique Motut-Firth, and Charlene Vickers, an Anishinabe Kwe/Ojibway artist based in Vancouver.
Monique Motut-Firth's collage installation, Polly’s Dolls, made from hundreds of meticulously cut-out catalogue images that “layer and weave together disparate image cultures, eras and visual signifiers,” provides an expansive overview of the development of fashion over the course of the twentieth century.
Mary Coss’ collective body of works entitled Public Debt to the Suffragette conflates identity with social conditions. Employing female clothing in bronze corset works and large sculptural umbrella dresses, she examines the relationship between the female form and the drive toward its emancipation.
Charlene Vickers adopts the language of consumerism and then subverts it. Challenging colonization, trade, and modern consumerism, Variations and Traces of Ancestral Selves features intricately beaded moccasin boots modelled in a traditional Anishinabe style, sewn from cardboard beer cases. Her installation Ominjimendaan/to remember presents tall lengths of pointed, sharpened cedar that stand in balance, symbolizing a defensive strategy against violence enacted toward indigenous women.
CURATION | Connie Sabo, Debbie Westergaard Tuepah, with AgentC Projects
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