folio Issue 4 — Fall 2010McGill Art + Design

Folio

StaffMichæl BeauvaisClaire BourgeoisElle BourgeoisTyler ChauJordan DeutschJurg HallerJoseph HenryMaggie HorikawaMarissa LeeJohn LevesqueMilena LorsignolMilena PaprokBenjamin PeckLeah PiresErin Spangler

Contactfoliomag@gmail.comfoliomagazine.ca

About

Folio is a student-run art and design magazine that acts as an ongoing archive of McGill’s artistic community by providing a venue for student artists to showcase their work. It is published biannually.

Cover: Jamie RossFacing page: William Thurman

All contents © the respective artists. Opinions expressed in Folio are not necessarily those of McGill University.

folio magazine :Issue 4 — Fall 2010

Contents

KunstMatthieu Santerre

자기야Meaghan Préfontaine

Biboon GeamhradhJamie Ross

Acid WesternsLeah Pires

Geometrical InterpretationsWilliam Thurman

Why more people aren’t handing out scripts as party favoursCody Scharfe

Cells and LeavesJacqueline Riddle

InterplayDominic Popowich

UntitledAnna Foran

JACQUELINE RIDDLE Cells

DOMINIC POPOWICH Interplay

ANNA FORANUntitled

MAT

TH

IEU SA

NT

ERR

E Kunst

JAMIE ROSS Biboon Geamhradh

MEAGHAN PRÉFONTAINE자기야

LEAH PIRES Acid Westerns

WILLIAM THURMAN Geometric Interpretations

CODY SCHARFEWhy more people aren’t handing

out scripts as party favours

folio contributors

ANNA FORAN gets tired of words, so she makes collages out of photographs pilfered from relatives, antique shops, and garage sales. Hours of clipping lead to displacing and replacing disparate images to form new and curious wholes. She finds inspiration in knick-knacks, cabinets of curiosity, clutter, and small children.

LEAH PIRES is inspired by psychedelic patterns, topographic maps, Kodachrome photos, and the landscapes of the Southwest U.S. She likes National Geographic magazines printed between 1962 and 1975 because they sometimes combine all four in a single issue. Her contribution to Folio is named after a film genre from the same time period as her source material. El Topo would be a good place to start.

DOMINIC POPOWICH’s work can be both personal and political. Manipulating texture and colour, he fo-cuses on the relationship between nature and struc-ture, creating photographs from multiple exposures. This is especially apparent in his interactions with ur-ban spaces. He sees art as liberation from the confines of academia, as thought need not always be logically driven. Juxtapositions and experimentation matter too—just ask Laurie Anderson.

MEAGHAN PRÉFONTAINE ridicules photography for its technical simplicity, yet relishes its direct relationship with time and its ability to construct narratives. 자기야, pronounced jagiya, is a Korean pet name that roughly translates to “sweetheart.” In this series, she documents a high school relationship with a Korean boy who spoke limited English. Language and cultural barriers notwith-standing, 자기야 is a nostalgic testament to adolescent romance and transnational idealism.

JAMIE ROSS is a visual artist, magician, and writ-er. His video work, which deals with themes of storytelling, genealogy, homoeroticism, and ge-ography have screened locally and internationally. He is at work on his first novella, entitlled Coldwa-ter, set in the fertile, marshy wetlands of his na-tive Ontario, as well as his next film: a dribbling gash-slash beater flick entitled Girls of Prey, shot in Montréal. Visit him at jamierosspower.blogspot.com.

JACQUELINE RIDDLE observes both art slides and lab slides, and emphasizes the ways in which colour tempers our perceptions of the world. Us-ing batik techniques, she visually renders leaves under microscopic observation with wax and paint, allowing full control of colour forms. This work encapsulates her struggle to reconcile art and science throughout her academic work, where chemistry and art clash to form visual compounds.

MATTHIEU SANTERRE, a political science major, carries his sketchbook everywhere and draws spon-taneously on the spot. He is inspired by architecture and monuments, which he sees as an open book to ci-vilisation. Super-fine-tip drawing pens (0.3 mm—take note) are his weapon of choice.

CODY SCHARFE speaks the language of comput-ers. For this issue, he used a Ruby script to manipu-late a photo of a bronze and granite sculpture by CJ Fleury. He likens McGill to a hashtable with tension mapping to creative release: “They provide a strong theory basis with which to work, plus, you can al-ways expand and elaborate on previous structures and ideas, chaining off onto new ones.”

WILLIAM THURMAN uses basic math systems and many rulers to reveal the unseen geometry of architecture and to subvert the rigidity and authority of “perfect” forms. One of his contribu-tions to Folio superimposes Bauhaus forms over a photo of Nuremberg to critique the contradic-tions in Hitler’s concept of “degenerate” art. Wil-liam is interested in cosmology, Sol LeWitt, Aphex Twin, James Turrell, and Stockhausen.

Thanks to the AUS Fine Arts Council and the Students’ Society of McGill University for their generous support.