Geoffrey Farmer, Propeller, 2005
Lightjet (endura archival photo paper)
49 ¾ " × 38 ¼ "
Courtesy Catriona Jeffries Gallery, Vancouver

Geoffrey Farmer's photographs depict pairs and threesomes of outmoded, mass-produced wooden furniture, realized from Farmer’s major installation A Pale Fire Freedom Machine at The Power Plant in Toronto, which pivoted on the building's working industrial smokestack to turn the exhibition into a kind of combustion machine. Each day, such discarded furniture was stripped, disassembled and kindled with a printed broadsheet of workers' ordinances inked with the pitch of the fire of the day before. Geoffrey's work has been seen nationally and internationally and will be included later this year in Intertidal: Vancouver Art and Artists at Museum Van Hedendaagse Kunst in Antwerp.

A major survey of the work of Brian Jungen is currently on view at the New Museum in New York. At Art Basel Miami Beach, Jungen continues his practice of critically transforming prefabricated objects and exhibits a mobile still for preparing alcohol. Volatile and rudimentary, such apparatus is illicit in North America and carries associations with libertarian, backwoods wherewithal. Brian will show in the Antwerp Muhka survey, Intertidal: Vancouver Art and Artists, and in solo exhibitions at the Vancouver Art Gallery and the Tate Modern in 2006.

Damian Moppett’s organic, biomorphic forms fuse the handmade ceramic elements and modernist sculpture from their previously stated distance or polemic. His framed yellow silkscreen, Sasquatch Symposium, enlarges a found flyer in order to brightly endorse the search for the uncategorized and thus, as yet, unreal. A series of watercolours reflect on the ranging touchstones of his practice. Damian's work will be seen in Intertidal: Vancouver Art and Artists and his forthcoming solo exhibitions include Carleton University Art Gallery, Ottawa, and Temple Gallery, Philadelphia.

Part of the curated Art Video Lounge in the Botanical Garden, Judy Radul’s work, Gucci Prada, witnesses the comings and goings at the doors of two of Italy’s most famous fashion houses, which face each other on Rome’s Via Condotti. Casual crossings between the two compose this public/private space as a stage on which various quotidian micro-dramas unfold. The work will be screened as a large projection on Thursday December 1 and Saturday December 3 on Station 8: Observations, at 3pm.

The Art Projects section of Art/Basel Miami Beach has prominently situated Ron Terada’s neon art work, Stay Away from Lonely Places on an exterior wall of the Miami Beach Convention Centre, en route to and from the beach. Installed for street viewing between Halls A and B on Washington Avenue, this new work lifts the phrase from the Willie Nelson song in order to nudge both art fair visitors and Art Deco district residents with its ambivalent compulsion to advise—or to admonish.

Jessie Caryl
For further information please contact Catriona Jeffries Gallery at 604-736-1554 or cat_jeffries_gallery@telus.net