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From Africa to the Americas (including To Cubism), 2014

From Africa to the Americas (including To Cubism), 2014

Chromogenic print, wood, stain, Plexiglas
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

 

The Return Project is an assemblage where readymade consumer articles are dissected, reconstructed and represented within the commercial conditions of their wholesale environment – questioning the structure of contemporary art practices.  

The Return Project, is managed to operate inside, and position itself within, the parameters of a commercial system, interjecting the value constructs governing the contemporary art world. The project dismantles the artistic object and the artistic persona within their own contemporary systemic conditions by skewing the established points of references and relationships that seemingly authorize how and where the true value of art resides.

How it works:

An object is purchased from a store and brought to the studio for photo documentation. The object is then dissected, collaged and reconstructed into a new consumer article and photo documented in its new state. The two photographs, forming a diptych, are printed in the same scale as the original object. Throughout the process original tags and labels are kept intact. The new object, now declared as an art work by the artist, accompanied by the tags and receipt and a hidden note stating "This is to authenticate this object as a work of art, signed" are then returned to the store for a full refund. The store’s return policy (often 7-10 days) determines the timeframe for the studio process. The returned object – that is, the art object - enters and circulates in the inventory of the store and is once again available for sale, but at the store’s determined price. The leftover cut-off pieces from the reconstruction process are reassembled to form a residual object to accompany the diptych. A small gesture in the large scheme, each action is planned and executed around a particular concept and is autonomous. Aside from the method that determines the project, each piece/action zooms in on a contemporary issue at stake, ranging from geo-politics and global economy to cultural shortcomings and art historical limitations.

Taking a stance, yet equally embracing the inherent anonymity, The Return Project, operates within and disrupts the limits of policies in systems that offer goods in a competitive market. The Return Project employs notions of performativity through two, often disproportionate, contexts – that of everyday retail and the rarefaction of the gallery context. 

It is critical to keep in mind that while each set of work is autonomous and examines a unique subject, the overarching link is the idea that in contemporary times constative systemic conditions overpower basic human conditions. Each of these works approaches those conditions from a different angle.

To Cubism, 2014

To Cubism, 2014

Wood, stain, Plexiglas
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Brancusi's Alien Fascination (including Constantin), 2014

Brancusi's Alien Fascination (including Constantin), 2014

Chromogenic print, steel, wood, stain
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Constantin, 2014

Constantin, 2014

Wood, steel, stain
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Fair Trade (Including Assisted Reconstruction), 2014

Fair Trade (Including Assisted Reconstruction), 2014

Transmounted chromogenic photo on metallic paper, plastic water bottle, straw, paper, water and watercolour pigment
Private collection
Photo: Trevor Mills, Vancouver Art Gallery

Fair Trade, 2014

Fair Trade, 2014

Transmounted chromogenic photo on metallic paperPrivate collection
Private collection
Photo: Trevor Mills, Vancouver Art Gallery

Tearless (including Never Forgetting Richter), 2014

Tearless (including Never Forgetting Richter), 2014

Chromogenic print, wax, cotton, wood
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Never Forgetting Richter, 2014

Never Forgetting Richter, 2014

Wax, cotton, wood
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

RUN (including URN), 2014

RUN (including URN), 2014

Transmounted Duratran print, LED light box, wood, steel wire, yoga mat foam, paint
Courtesy of Studio Babak Golkar
Photo: Trevor Mills, Vancouver Art Gallery

URN, 2014

URN, 2014

Wood, steel wire, yoga mat foam, paint
Courtesy of Studio Babak Golkar
Photo: Trevor Mills, Vancouver Art Gallery

The Rise and the Fall of the Sun, 2014

The Rise and the Fall of the Sun, 2014

Chromogenic print, textile, rubber
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

From Africa to the Americas (including To Cubism), 2014

Chromogenic print, wood, stain, Plexiglas
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

 

The Return Project is an assemblage where readymade consumer articles are dissected, reconstructed and represented within the commercial conditions of their wholesale environment – questioning the structure of contemporary art practices.  

The Return Project, is managed to operate inside, and position itself within, the parameters of a commercial system, interjecting the value constructs governing the contemporary art world. The project dismantles the artistic object and the artistic persona within their own contemporary systemic conditions by skewing the established points of references and relationships that seemingly authorize how and where the true value of art resides.

How it works:

An object is purchased from a store and brought to the studio for photo documentation. The object is then dissected, collaged and reconstructed into a new consumer article and photo documented in its new state. The two photographs, forming a diptych, are printed in the same scale as the original object. Throughout the process original tags and labels are kept intact. The new object, now declared as an art work by the artist, accompanied by the tags and receipt and a hidden note stating "This is to authenticate this object as a work of art, signed" are then returned to the store for a full refund. The store’s return policy (often 7-10 days) determines the timeframe for the studio process. The returned object – that is, the art object - enters and circulates in the inventory of the store and is once again available for sale, but at the store’s determined price. The leftover cut-off pieces from the reconstruction process are reassembled to form a residual object to accompany the diptych. A small gesture in the large scheme, each action is planned and executed around a particular concept and is autonomous. Aside from the method that determines the project, each piece/action zooms in on a contemporary issue at stake, ranging from geo-politics and global economy to cultural shortcomings and art historical limitations.

Taking a stance, yet equally embracing the inherent anonymity, The Return Project, operates within and disrupts the limits of policies in systems that offer goods in a competitive market. The Return Project employs notions of performativity through two, often disproportionate, contexts – that of everyday retail and the rarefaction of the gallery context. 

It is critical to keep in mind that while each set of work is autonomous and examines a unique subject, the overarching link is the idea that in contemporary times constative systemic conditions overpower basic human conditions. Each of these works approaches those conditions from a different angle.

To Cubism, 2014

Wood, stain, Plexiglas
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Brancusi's Alien Fascination (including Constantin), 2014

Chromogenic print, steel, wood, stain
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Constantin, 2014

Wood, steel, stain
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Fair Trade (Including Assisted Reconstruction), 2014

Transmounted chromogenic photo on metallic paper, plastic water bottle, straw, paper, water and watercolour pigment
Private collection
Photo: Trevor Mills, Vancouver Art Gallery

Fair Trade, 2014

Transmounted chromogenic photo on metallic paperPrivate collection
Private collection
Photo: Trevor Mills, Vancouver Art Gallery

Tearless (including Never Forgetting Richter), 2014

Chromogenic print, wax, cotton, wood
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

Never Forgetting Richter, 2014

Wax, cotton, wood
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

RUN (including URN), 2014

Transmounted Duratran print, LED light box, wood, steel wire, yoga mat foam, paint
Courtesy of Studio Babak Golkar
Photo: Trevor Mills, Vancouver Art Gallery

URN, 2014

Wood, steel wire, yoga mat foam, paint
Courtesy of Studio Babak Golkar
Photo: Trevor Mills, Vancouver Art Gallery

The Rise and the Fall of the Sun, 2014

Chromogenic print, textile, rubber
Collection of the Vancouver Art Gallery, Purchased with the proceeds from the Audain Emerging Artists Acquisition Fund
Photo: Trevor Mills, Vancouver Art Gallery

From Africa to the Americas (including To Cubism), 2014
To Cubism, 2014
Brancusi's Alien Fascination (including Constantin), 2014
Constantin, 2014
Fair Trade (Including Assisted Reconstruction), 2014
Fair Trade, 2014
Tearless (including Never Forgetting Richter), 2014
Never Forgetting Richter, 2014
RUN (including URN), 2014
URN, 2014
The Rise and the Fall of the Sun, 2014