Modern Fuel

June 14 - July 19, 2008


My work propels itself through various media bouncing ideas back and forth, in a practice where the studio process and resultant detritus are embraced. Through investigations of location and scale, in allowing for the unexpected and utilizing the unintentional, I create a situation that is ripe for engagement and interpretation. The work intentionally confounds the perception of scale for the viewer through an ambiguous or skewed context.

In the new work, Façade, created for the State of Flux Gallery, Modern Fuel Artist-Run Centre, Kingston, Ontario, I referred to a photograph of the Modern Fuel facade found on its’ website as my starting point.

Studio based references recur throughout the work utilizing various media. Parts from a red, clay brick model set were used for one of the facade models. One drawing of the facade became a model leading to the photographs, MF Model 2 with Found Light and MF Model 2 Projected. A discarded foil wrapper was used to cast a MF facade shadow. Filmic strips became book like multiples and Brancusi references were made.

The constant in all these works is the sequential, the back and forth, the ricochet of ideas. The process is revealed and references to the practice of artists are discovered en route.

Working through this process an aspect of the Modern Fuel/Gas building’s history (circa early 1800’s) was revealed, leading me to look at the work of Joseph Légaré. A Quebec artist working at a similar time period to that of the MF building‘s construction, Légaré painted the iconic works, Fire in the Saint-Jean Quarter, Seen Looking Westward and L’Incendie du quartier Saint-Roch, both1845. I embraced the paintings, referring to images found in Dennis Reid’s book, A Concise History of Canadian Painting, and on the websites of the Art Gallery of Ontario, Toronto and Musée National des Beaux-Arts du Quebec, Quebec City. What followed was a model and, from that, a series of photographs, “Modern Fuel as a Légaré Painting”

With the many twists and turns that my work takes I intend to draw the viewer in to reconsider context, location, the use of materials, the studio process and scale .

Lynne Wynick

May, 2008