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    April 29 - May 22, 1993

    The Heliotropic (Part 2)
    Group exhibition: Allen Ball, Cornelius Heesters, David Kramer, Gordon Lebredt, Hugh McCague / Carl Peter
    Various Media
    Main Gallery


    Canadian and American Artists
    Limited edition artist made book: The Heliotropic

    The Heliotropic (Part 2), Gordon Lebredt, "Fixture #1", 1992. Photo Peter MacCallum.
    18K
    The Heliotropic (Part 2), David Kramer, "Boulevardier", 1993. Photo Peter MacCallum.
    18K

    The Heliotropic (Part 2), Hugh McCague and Carl Peters, "Manifestations",1993. Photo Peter MacCallum.
    18K
    The Heliotropic (Part 2), Alan Ball, "I Yam What I Yam", 1992. Photo Peter MacCallum.
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    MEDIA RELEASE

    The Heliotropic Curated by Jennifer McMackon

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

    Part 11 April 29 - May 22, 1993 Opening 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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