b 1977 Vancouver
based in Vancouver Canada & Glasgow Scotland
Contact: ydsirk@yahoo.com
Krisdy Shindler CV +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Current Exhibition 2010
SURFACE TENSION, Curated by Paul Young, Los Angeles “Surface Tension” by contrast, explores a very different approach—one that verges on the contemplative and serene. It includes 8 projections by artists Ori Gersht, Burt Barr, William Lamson, Jeffers Egan, Krisdy Shindler and more. In each case, the work underscores the paradox of the photographic medium by embracing depth of field and the surface plane simultaneously. As a result, these short, looping videos tend to be as effecting as they formally challenging.
Young Projects
Pacific Design Center Space 230 & 487
8687 Melrose Ave @ San Vicente
Los Angeles, California 90069
Tel 323-377-110
www.pacificdesigncenter.com
Tuesday – Friday 10am – 5pm By Appt on Saturdays
Recent Exhibitions 2010 Poster made for the exhibition HALLelujah 2, Glasgow, 2010. Title: ‘Can Art Manipulate Money? 2010’ (Does Money Manipulate Art? *AWC 1969). Glasgow Poster 2010, Edition of an indeterminate Number; legacy endowed upon Hard Working Artists in Glasgow, April 2010. *Art Workers Coalition
Description:
A3 Black & White poster Sign: Cardboard, found paint; ‘ART WORKERS WILL KICK ASS’ Girl: Jen Sykes Daffodil: daffodil 2010 Suitcase: c/o Lowsalt Hat: c/o Will Foster Boxing Gloves: c/o Anna McCarthy Bench: c/o Vestiges Park, made by George Thompson Papers: Art Workers Coalition Statement ‘DOES MONEY MANIPULATE ART?’ 1969 Location: Vestiges Park (a Lowsalt exhibition, during install), hosted on an urban wasteland/ fly-tipping site/ land deemed un-useable due to knotweed infestation, 145 Kelvinhaugh St, Glasgow
KRISDY SHINDLER
ESSAY BY ROBIN SELK FOR WOO GALLERY EXHIBITION 2010
THROUGH PLAYING WITH TRADITIONAL ARCHETYPES IN PAINTING--SUCH AS ICONOGRAPHY, AND THE RECORDING OF LIGHT AND MOVEMENT--KRISDY SHINDLER’S WORK CRITIQUES THE ABILITY OF THE MEDIUM TO STAY CURRENT, WHILE SUGGESTING ALTERNATIVE WAYS TO VIEW THE PRACTICE.
INSTEAD OF CONVENTIONALLY WORKING ON CANVAS, SHINDLER HAS SHIFTED TO PAINTING ON VELLUM--A TRANSLUCENT MATERIAL OFTEN USED IN COMBINATION WITH A LIGHT BOX. THE POTENTIAL AND RELATIVE EASE IN WHICH THE VELLUM CAN FILTER LIGHT AND BECOME ILLUMINATED WHEN BACK LIT, CONTRASTS SHARPLY WITH THE SKILLED AND DIFFICULT TALENT OF THE PAINTER NEEDED TO RENDER LUMINOSITY ONTO CANVAS. THE EASE OF THE VELLUM PAINTINGS TO BE BACK LIT IS THUS TELLING OF THE COMPETITION PAINTING HAS BETWEEN OTHER MEDIUMS WHICH—TECHNICALLY SPEAKING—MAY SHINE MUCH BRIGHTER.
IN OTHER WORKS SUCH AS A RECIPROCAL PROCESS OF BECOMING, SHINDLER HAS CREATED A SIMPLE STOP MOTION ANIMATION THAT CHARTS THE PROCESS AND DECISION MAKING THAT GOES INTO THE PRODUCTION OF A PAINTING. THE FILMS ARE PRESENTED AS PAINTINGS AND ESTABLISH A HISTORICAL NARRATIVE BETWEEN THE TWO MEDIUMS. STARTING AT THE BEGINNING OF THE 20TH CENTURY PAINTERS—INFLUENCED BY CINEMA—ATTEMPTED TO REPRESENT MOVEMENT WITHIN THE STATIC MEDIUM. SHINDLER PARODIES THIS STRUGGLE TO RENDER MOTION THROUGH EDITING TOGETHER THE PHOTOGRAPHS WHICH DOCUMENT THE PROCESS OF MAKING AN IMAGE—INHERENTLY EVERY PAINTING IS THE END RESULT OF THE ACTIONS TOOK TO MOVE PAINT ACROSS A SURFACE.
SHINDLER’S WORK SEEMS SKEPTICAL OF PAINTING'S ABILITY TO CREATE NEW SYMBOLS AS THE DISCIPLINE HAS HISTORICALLY DONE. ALTHOUGH THE IMAGERY IN HER PAINTINGS MAY HAVE AT ONE POINT HELD GREATER MEANING, THEY NOW BORDER ON KITSCH STATUS. ONCE POLITICALLY CHARGED SYMBOLS SUCH AS RIOTS AND RAINBOWS HAVE BEEN MADE NEUTRAL BY THEIR OVER USE AND SATURATION INTO MAIN STREAM MEDIA. THIS IS DRASTICALLY DIFFERENT FROM HOW PAINTINGS USED TO BE VIEWED, BUT PARTICULARLY TELLING OF OUR TIME WHICH HAS SEEN A GREAT INFLUX IN EXPOSURE TO IMAGES BUT A GENERAL DEVALUATION IN THEIR MEANING. FOR EXAMPLE SLOGANS SUCH AS RIOT2010 WERE COMMON PLACE ON VANCOUVER STREETS PRE-OLYMPICS BUT THE EFFECT WAS MARGINAL—THERE WERE NO SIGNIFICANT RIOTS. SHINDLER HAS THUS REDUCED THESE WOULD BE RHETORICAL IMAGES TO MERE FORMAL COMPOSITIONAL ELEMENTS. WITHIN THIS CRITIQUE HOWEVER IS THE NOTION THAT LIKE THE VELLUM THE PAINTINGS ARE PAINTED ON, THE USE OF A PROPER SUPPORTING DEVICE MAY TO HAVE THE POTENTIAL TO ILLUMINATE THESE DORMANT SYMBOLS ONCE AGAIN. JUST AS CERTAIN MOMENTS ALLOW FOR THE SYMBOL OF THE "RAINBOW" TO BECOME SIGNIFICANT POTENTIALLY IN THE FUTURE AND IN THE RIGHT CONTEXT, IT COULD BECOME SIGNIFICANT AGAIN.
KRISDY SHINDLER HOLDS A BFA FROM EMILY CARR UNIVERSITY AND A MFA FROM GLASGOW SCHOOL OF ART, HER WORK HAS BEEN EXHIBITED IN CANADA, ISRAEL, DENMARK, SWEDEN, SPAIN, NEW YORK, AND ACROSS THE UK, WALES, AND SCOTLAND.
SOLO EXHIBITION AT WOO GALLERY, CURATED BY ROBIN SELK
EMILY CARR UNIVERISTY, VANCOUVER BC
Paintings in progress 2009
Oil paintings on drafting film, works in progress, dimensions variable, 2009
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Listening to Silent Propaganda
Candyland, Stockholm
06.06.08- 15.06.08 (Residency and Solo Exhibition) Listening to Silent Propaganda, (series of 3 lightbox lecterns): oil paint, plexiglass, wood, and daylight fluorescents, 128 x 40 x 30cm each, 2008
Listening to Silent Propaganda is a series of new works created by Krisdy Shindler while on a two month residency in Stockholm (May-June 2008) at the Nordic guset studio at Malongen (NKF- Nordic Art Association), by invitation from Candyland gallery.
For more information on this exhibition, please visit www.candyland.se +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
International video art: TWOSIDEDNESS
Curated by Sandra Weil
Kulturhuset, Stochkolm 17.01.08- 25.05.08 The mountain and the abyss, animation of oil paint on drafting film, 2006 International video art: TWOSIDEDNESS is an exhibition of 18 international video artists, curated by Sandra Weil. The works were shown at three different locations in Kulturhuset, Stockholm, three weeks each. The works have in common that the artists in different ways create their own worlds where nothing is what it first seems to be.
Participating artists: Alina Abramov, Yifat Bezalel, Ethan Breckenridge, Melanie Daniel, Jean Alexander Frater, Özlem Günyol, Kate Hawkins, Keren Gueller, Leat Klingman, Ora Lev, Koby Levy, Manal Mahamid, Karin Mendelovici , Gilad Ratman, Ami Raviv, Krisdy Shindler, Jan Tichy och Keren Yeala-Golan. For more information: www.kulturhuset.stockholm.se +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Your Words and My Mouth
Hospitalfield House, Arbroath Scotland
September 22- 23rd, 2007 Lady Elizabeth's Precious Loot (series of 3), oil paintings on lightboxes, exhibited outdoors in a derelict conservatory, 64 x 80cm each, 2007
Your Words and My Mouth is a two-day exhibition and live arts event which was held at Hospitalfield House, Arbroath. The event featured the work of 21 contemporary practitioners, comprised in an exhibition of visual art, performance, music, film and sound work.
Participating artists: Jonathan Adam, Blood Music, Neil Clements, Craig Coulthard, Ilana Halperin, Sam Kennedy, Killerstreet, Toshiyuki Kobayashi, Derek Lodge, Nob, Anna McCarthy, Alasdair Roberts, Jonathan Scott, David Sherry, Krisdy Shindler, Christian Sievers, Catherine Street, Sir Leonard Hatred Devotional Ensemble, Claire Todd, Usurper, Duncan Williamson
For more information: www.yourwordsandmymouth.com
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Take-Away Light
Studio Project 7 at Market Gallery, Glasgow (Residency and Solo Exhibition) Dimensions: lightbox above 64 x 300cm, lightboxes below 64 x 80cm Take-Away Light (series of 3 lightboxes), oil paint on drafting film, mounted on lightboxes, 2006
For more information: www.marketgallery.org.uk +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Marks & Comments The Glasgow School of Art MFA Degree Show 2006
Tramway, Glasgow
Further removed from the solution, but closer to the problem, a series of four oil paintings on lightboxes, 2006
These works were also exhibited in ‘Marks and Comments’ at the Museum of Contemporary Art Roskilde Denmark 2006 and at ‘MFA International’ at the Ben Gurion Airport Tel Aviv Israel 2006 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
