Jasmine Wallace

2010
– MFA, University of Minnesota, Minneapolis, Minnesota

2005
– BFA, Nova Scotia College of Art and Design University, Halifax, Nova Scotia

2018
– February 1st-March 3rd, Z Gallery Arts, Vancouver, British Columbia

2015
– Jasmine Wallace, Robert Lynds Gallery, Vancouver, British Columbia

2013
– Jasmine Wallace, Robert Lynds Gallery, Vancouver, British Columbia

2010
– The Best of all Possible Worlds, MFA Thesis Exhibition, Katherine E. Nash Gallery, University of Minnesota

2018

– Z Gallery Arts @ Art New York presented by art miami, New york

– Z Gallery Arts @ Scope New York

2016
– XXV Access Auction Fundraiser, Access Gallery, Vancouver, British Columbia

2015
– A Vibrant Assemblage, Access Gallery, Vancouver, British Columbia

2015
– ArtBeat, Belkin Residence, Vancouver, British Columbia

2014
– ArtBeat, Belkin Residence, Vancouver, British Columbia

2013
– Super Natural Industry, Robert Lynds Gallery, Vancouver, British Columbia

2013
– Sussurates, Robert Lynds Gallery, Vancouver, British Columbia

2012
– Precipice, Seattle Design Centre, Seattle, Washington

2010
– The Drawing Room, Pendulum Gallery, Vancouver, British Columbia

2010
– NCECA, “National Graduate Exhibition”, Philadelphia, Pennsylvania

2009
– Diverse Perspectives, Minnesota State University, Mankado, Minnesota

2007-2009
– Fresh Works, Quarter Gallery, University of Minnesota

2008
– Hardscapes and Softscapes, Northrup King Building, Minneapolis, Minnesota

2012-2017
– Instructor Ceramics, JustPotters, JustWork Economic Initiative, Vancouver, British
Columbia

2008-2010
– Instructor Ceramics, University of Minnesota, Minneapolis, Minnesota

2010
– Tangible Digital Matter, Wilson Library, University of Minnesota, Minneapolis, Minnesota

2003
– Guldagergard Ceramic Centre, Skaelskor, Denmark

2017
– DTES Arts Grant, Vancouver Foundation, Vancouver, British Columbia

2007-2010
– Graduate Art Scholarship, University of Minnesota, Minneapolis, MN

2009
– Dedalus Nominee, Dedalus Foundation, New York, NY

2009
– Northern Clay Center Ceramics Award, Northern Clay Center, Minneapolis

2003
– Research Fellowship- Guldagergard Denmark, NSCAD University, Halifax, NS

2015
– MagTear 99, Robert Lynds Gallery, Vancouver, British Columbia

2013
– MagTear 89, MagTear 88¸ Robert Lynds Gallery, Vancouver, British Columbia

2010
– The Drawing Room, Vancouver Drawn Festival Catalogue, Vancouver, British Columbia

2010
– NCECA Catalogue, Philadelphia Conference Exhibition Guide

2010
– Minnesota Women Ceramic Artists Exhibition Review, Ceramics Monthly, March Issue

2004/2005 & 2003/2004
– NSCAD University Annual Report

For Immediate Release

IN BETWEEN SPACES | JASMINE WALLACE

Artist Reception: Thursday, Nov 28th. 6PM – 8PM

On View: Nov 28th – Dec 23rd. 2019

Gallery Hours: Wed – Fri – 11AM – 5AM. And by

Appointment Location: 102 – 1688 West 1st Avenue,

Vancouver. BC. Canada. V6J 1G1

Contact: [email protected]

 

In Between Spaces

Interested in spaces that show the passage of time and the accumulation of accretions on

architecture, this new body of work will explore the idea of in between spaces, in

particular spaces that have been abandoned, destroyed and transformed by urbanization.

Often described as dead zones, heterotopias, or terrain vague these “other” spaces allow

for the cultivation of contemporary ruins. Here, the built environment is sliding towards

a more organic state in which the corroding, decomposing power of nature is producing a

new form. Biomorphic aggregations begin to take over built structures and this organic

deterioration creates modern ruins which register as symbols of something lost but also

as a site of possibility. In these spaces there exists a loss of control, buildings fall down

into ruin, urban decay, graffiti and other public intervention occurs and within that there

exists a kind of freedom without any form of maintenance or control. In these locations

the natural environment and the built environment are allowed to freely interact

revealing a wild, complex, and untamed environment.

The process heavy paintings become a space of suspension between something that was

built and something that has been destroyed. Building up layers of paint over time and

assaulting the picture plane by scratching, grinding and burning down the surface

enables the work to reflect a crumbling infrastructure. The visual qualities of the work

are simultaneously organic and architectonic; the intersection of these two extremes

becomes a point of complexity. At first glance the works appear expressive and painterly

in their abstraction, and it is at closer inspection that one can see the corroding forms of

architectural and organic shapes. The painting becomes an excavation site – Like modern

ruins that mark the passage of time, reflecting both a time past and a time present, the

paintings portray something that was once present but through deconstruction and

transformation has become a new form.