Dawson College Fine Arts

faculty Biennial

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Claude ArseneaultAnna CarlevarisGiuseppe Di Leo

Eva Egers (Egerszegi)Janice Flood Turner

Beverly FrumkinJuan Gomez-Perales

Antoinetta GrassiDavid Hall

Harlan JohnsonJulianna Joos

Lise-Hélène LarinNaomi London

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Murray MacDonaldAndres Manniste

Marcia MassaLoren D. May

Maureen McIntyreGilles Morissette

Frank MulveyAllan Pringle

Shelley ReevesLaurent RobergeLorraine SimmsMichael SmithLois Valliant

Dawson College Fine Arts

faculty Biennial

Beauty is a fateful gift of the essence of truth, and heretruth means the disclosure of what keeps itself concealed.The beautiful is not what pleases, but what falls within that fateful gift of truth which comes to be when that which iseternally non-apparent and therefore invisible attains its most radiantly apparent appearance.

Heidegger, What Is Called Thinking, 1952

Foreword

Welcome to the 2005 edition of the Fine Arts Faculty’sBiennial at Dawson College. This event presents aunique opportunity to view and appreciate the artis-tic talents of the teachers in our Fine Arts program.

This important event also conveys the pedagogicalcommitment of our teachers as they embrace theirprofessional practice to render a total artistic experi-ence, integrating every facet of the creative process.It is an exemplary process because it inspires our stu-dents to find their own creative voice.

Exhibiting one’s work lays bare one’s soul; it is therisk every artist takes for truth in creation. For theteaching artist, the risk is amplified as the soul isexposed to the very people – the students – who lookto them for guidance, knowledge, experience. For thestudent, it reveals the creative process, one that theywill learn to participate in, step by step. In manyways, the Biennial is the catalyst for the pedagogicaltransmission of art, from master to apprentice.

Welcome to the Biennial and congratulations to theteachers for their generosity in sharing these cre-ations with us.

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Richard FilionDirector GeneralSeptember 2005

C’est avec un grand plaisir que je vous souhaite labienvenue à l’édition 2005 de la Biennale desenseignants du programme d’Arts Plastiques duCollège Dawson. Cet événement constitue une occa-sion unique pour nous tous de voir et d’apprécier letalent artistique qui anime les enseignants du pro-gramme d’Arts Plastiques de notre collège.

Cette exposition est importante car elle traduit bienle souci pédagogique de ces enseignants qui est defonder leur pratique professionnelle sur une expéri-ence artistique complète, qui intègre toutes lesfacettes de la démarche créatrice. Il s’agit d’unedémarche exemplaire car elle a certainement valeurd’enseignement aux yeux des étudiants qui y trouventl’expression de la créativité artistique portée à sonaccomplissement.

Exposer son œuvre, s’exposer en somme, c’est toutela part de risque qui s’assume dans la vérité de l’œu-vre. Pour un enseignant, c’est le risque d’être soidevant les étudiants qu’il a charge de former. Pourles étudiants, c’est la révélation concrète du proces-sus créateur qu’ils doivent apprendre à maîtriser peuà peu. La Biennale représente en quelque sorte lecatalyseur de cette transmission pédagogique à l’œu-vre dans l’interaction du maître avec l’apprenti.

Bienvenue à la Biennale et félicitations auxenseignants pour cette généreuse initiative!

left: Maureen McIntyreNormandie 2005cibachrome print72 x 53 cm

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Julianna JoosNavigio, 2004jacquard weaving66 X 20.5 cm

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The Fine Arts Department has organized FacultyBiennial exhibitions on a regular basis since 1992.This year we are pleased to continue the traditionwith our 7th Biennial held in the Warren G. FlowersArt Gallery. The show is comprised of artworks ofdiverse tendencies and techniques by artists and arthistorians alike – all teachers in the Fine ArtsDepartment here at Dawson College. The result is adynamic mix of varied style and content using bothtraditional techniques and new technology.

The Biennial gives the teachers of the Fine ArtsDepartment the opportunity to share a part of theirartistic endeavours with their students and with theDawson community. Furthermore, it enables the stu-dents to see their teachers’ artwork and gain a betterunderstanding about what they are being taught:teaching art has a lot to do with making art.

As teachers we work for our students; as artists weconsider our audience. Presenting the FacultyBiennial on campus demonstrates not only how artfits into society, but how the Fine Arts Departmentfits into our greater Montreal community.

Julianna JoosFine Arts Chairperson

Why a Biennial?

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Naomi LondonOrange ball (work in process), 2005153 cm circumference

Naomi London

It is the constant battle between the hardness of metal andthe fragility of paper, the unalterable and the flexible, theaccidental and the directed that defines my art practice.

My latest work investigates the relationship between ele-ments found in a neighbouring railroad yard and the ele-ments used in printmaking. During the sorting of boxcars,the engines go forwards and backwards relentlessly. Markingson a copper plate echo the scarred surfaces of the train cars.Both surfaces whether accidental or voluntary record timeand experience. The physicality of printmaking becomes partof the printmaker’s identity and inevitably, he/she grows akinto the use of metal plates, tools, rollers and presses.

Claude Arseneault

Claude ArseneaultH a rd w a re/software, 2004mixed media26 X 41 cm

Claude Arseneault completed her undergradu-ate and graduate degrees at McGill University.Claude is a printmaker with considerableexperience. She has been a regular member ofGraff and Conseil Québecois de l’Estampe.

Naomi London holds a BFA fromConcordia and a MFA from theUniversity of Southern California.Her most recent solo showsinclude Sweets, hope, and thepassage of time at Musée d’art deJoliette, Hope at The KofflerGallery, Toronto (2005), OneGargantuan Optimistic Metaphor(2002) and Beyond Sweeties(2001).

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Giuseppe Di Leo

Giuseppe Di Leo received his MFA degree fromYork University and his BFA from Concordia.Giuseppe’s solo exhibitions projects includeTrembling Ground at Museo Civico d’ArteContemporanea, Casacalenda, Italy (2004),The Sacred and The Prosaic (1998) atWaddington and Gorce and Botanikos / egoreceiver (1997) at The Justina BarnickeGallery, Hart House at the University ofToronto. His drawings are in the collections ofmuseums and corporate institutions acrossCanada.

Giuseppe Di LeoWhen words fail.... ( the inspiration of St Matthew), 2004pencil on paper,38 X 38 cmPhoto: Paul Litherland

When Words Fail (The Inspiration of St Matthew)

Drawing, notably continues to be significant to myform of expression. This modality of art making givesshape to my experiences, and underscores the princi-ples and values I consider essential to living. Hence,my work would not have the existential vitality if Iwere to preclude within the subject lessons of thebanal weight of family culture. As a father I am com-mitted towards preserving the platform of familystructure. I am equally challenged and privileged bythe interventions of both my children, their spirit andtheir struggles in the routine of living in whatappears to be a hyper-sensitive and hyper-paced envi-ronment.

Caravaggio’s painting, entitled The Inspiration of SaintMatthew contains biblical references which allude tothe ongoing challenges of keeping a focus in themidst of mounting distractions. St. Matthew, whiledocumenting his revelations, was at a loss for words.Guided by divine intervention through the guise of anangel, he found the inspiration to continue. I ammoved by the content of this work but moreover byCaravaggio’s delight in casting a youthful angel as themotivator. An analogy can be drawn between our chil-dren (youth) and salvation. Our hope for a benevolentfuture lies in the quality of the moral fabric we weavetogether with our children. How do we keep our chil-dren engaged, but mindful of mores and values?

Where do we seize the words to explain the incom-prehensible? How do we keep our youth from grow-ing up too fast in a global society that showers themwith mixed messages at lightening speed?

In my drawing When Words Fail (Inspiration of SaintMatthew), 2004, a young boy in his bathing suitstands barefooted on an Afghan prayer rug placed onan elevated platform. His slender body is poised withoutwardly raised arms in a saintly gesture of prayer-like devotion. The drapery suspended on the clothesline behind the figure flops in the gentle breeze.Reminiscent of wings, this can also serve as a screenpartially covering up the burning fields on the hori-zon. A division of this world apart from another. Inemphasizing the unusual mature-like gesture of theyoung figure I hope to address the potential threat ofthe pre-mature loss of innocence.

This drawing was conceptualized during the Afghanand Iraqi invasions. My message among others ishopefully to raise the awareness that when words fail,the vision of humanity that our images convey can beread beyond the barrier of languages as a message ofpeace. It is the greatness of art(education) that allowsus not to forget this.

May 2005

Janice Flood Turner Janice Flood Turner received her MFA fromSir George Williams University. She wenton to complete a Ph.D in Fine Arts fromthe University of Quebec in Montreal. Herrecent work was presented at a solo atGallery 418 in Montreal, as well as exhibi-tions at the Leonard and Bina EllenGallery, Atelier Circulaire, and ArtsSutton.

All interest in disease and death is only another expressionof interest in life.

Thomas MannThe Magic Mountain (Der Zauberberg, 1924)

Janice Flood TurnerPromise after the Flood, 2003 (Graphic Image of Installation)244 X 823 X 122 cm

Antonietta Grassi received her undergraduatedegrees from Ryerson Polytechnical University, aswell as from Concordia. She completed her MA inFine Arts at the University of Quebec in Montreal.She recently exhibited new works in a solo exhibi-tion at Esthésio art contemporain in Quebec City(2005) and Babil (et autres langages codés) atEsthésio Art contemporain (2003) and GalerieLilian Rodriguez (2002).

Antonietta Grassi

Antoneitta GrassiMemory Float, 2005oil, transfers, and ink on canvas152 X 152 cm

Harlan Johnson

Harlan Johnson completed his BFA and MFA atConcordia University. Recent solos includeFestoon (2000) and l’Errance du tracé (1998).Harlan is represented by several public art col-lections including Musée d’art contemporain deMontréal and the Confederation Centre inCharlottetown.

Harlan JohnsonFading worlds, 2004acrylic on canvas180 x 150 cm

Juan Gomez-Perales

Juan Gomez-PeralesSALVIATI: Impetus of Whirling,2005detail of diptychoxidized steel each panel 35 X 47 cm

SAGREDO. … And thus it might be supposed that the whirlingof the earth would no more suffice to throw off stones thanwould any other wheel, as small as you please, which rotatedso slowly as to make but one revolution every twenty-fourhours.

Galileo (1629)

Juan Gomez-Perales has degrees inArchitecture and Fine Arts from the Universityof Manitoba and a Masters degree in Fine Artsfrom the University of Victoria. Juan hasreceived several grants and has an interna-tional exhibition record. His most recent soloexhibition, The Hunger of the starlings washeld at the Warren G. Flowers Gallery in 2004.

delineate the latent obfuscate the evidentrepair the renderedtease the tangible bathe in pigmentsblurr and emblazon

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Gilles Morissette

The title: Ce rouge qui nous regarde, with such a reversal ofthe colloquial expression, already hints at the phenomenolog-ical aims underscoring the work. Interiority is turned insideout: it is the world which beholds us, spies on us, but fromwithin the sight of vision, through the eye that is alternative-ly open and shut, the eye which can literally and figurativelysee red. This peculiar double motif of anger and the opticalorgan comes from a previous work dealing with the death ofthe father.1 But the irascible eye here is also “veiled”, it issimilar in kind to Bataille’s own seminal motif: the blind eyeof a syphilitic father struggling with violent symptoms, atonce “madman” and “saint”, “elected” and “reproved”.2 It isthe same eye that attaches itself to other key figures in thework, such as the anus solaire and the œil pinéal. In corre-sponding fashion, Morissette’s representation also engages aprobing of the world, the labour to grasp a sensible knowl-edge pertaining to the welding of radical heterogeneities in aunity of meaning.

Extract from a published text by François LeTourneux for the exhibi-tion Ce rouge qui nous regarde at Observatoire 4, Montréal, 2004.

Gilles MorissetteCe rouge qui nous regarde, 2004Installation at Observatoire 4, MontrealSublimation print on hand made paper,natural and artificial light

Gilles Morissette completed his undergraduatedegree at the University of Alberta and a MFAat Concordia University. In 1995, he wasgranted a PhD (Science and Technology in theArts) from the University of Paris VIII.

His recent solo exhibitions include the installa-tion Ce rouge qui nous regarde atObservatoire 4 gallery (2004) and Lieu d’êtrefor Artransmedia 2005, Fondation DANAE inAsturias, Spain.

1 L’ouverture des yeux, 2004, Centre Culturel de Saint Isidore, AB,Canada.2 Michel Surya, Georges Bataille, La mort à l’œuvre, Paris, Séguier,1987, p. 20.

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Allan Pringle One Jagged-Edge series, #107: Throw the OId Dog [...], 2005.Silverprint, 54 x 38 cm.

It would be an absurd endeavour for any individual toattempt to hold precious the guidance of his or her moralcompass because such a task would be based upon the flawedassumption that human beings have [un]limited control overnatural instinct.

[reflection: Lord Jim]

Allan Pringle

Laurent Robergeuntitled, 2005(sample of material)n.d.

Laurent Roberge

Far the past few years I have been working in my studioon an ephemeral paper sculpture. When this project willbe finished it will be photographed and the studio willthen be opened to the public for a brief period of time.That work will later be dismantled and its material recy-cled into another piece.

September 2005

Laurent Roberge recieved his MFA from ConcordiaUniversity after completing diplomas from the Emily CarrCollege of Art and McGill University. He has exhibited hisinstallations in Canada and internationally and has beenawarded many prizes and grants throughout his career.Recent exhibitions include Temps Fantômal at Optica aswell as installations at Galerie Clark and the JackShainman Gallery in New York.

Allan Pringle has a MA in Art History (Co ncordia University,1985) and has published extensively on the subject of contem-porary Canadian art and on Canadian American relations innineteenth-century landscape painting.

Since 1995, he has deviated from Art History (proper) to begin a photo-documentary project imaging aspects and incidents of psychopathological behaviour ad aperturam inportrait subjects.

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The manufactured environment has always factored into myprojects. With Cacophony, I began by playing with HTML. Itook a picture of my family and made a four-colour separa-tion in ASCII. Running these scripts through a code checkindicated that it was all wrong. But it didn’t look wrong andso I kept putting together things that seemed to belongtogether.

I now look at this piece, and realise that it is about a passagethrough experience. I begin with a child’s memory of hidingterrified under a bed in fear of a nuclear war. I end thesequence with nature reclaiming a wasted space that came,not with a bang but through the whimper of raindrops.

Andres Manniste

Andres MannisteCacophony of the spirits, 2005 (screen capture)

Andres Manniste received an Honours BFAfrom the University of Manitoba and a MA inFine Arts from the University of Quebec inMontreal. Educated as a painter and printmak-er, he has participated in many solo and groupexhibitions over his career. His work can befound in public collections including theMontreal Museum of Contemporary Art,Rhizome artbase, New York, the HeritageCollection of the Quebec Archives, Governmentof Ontario Art Collection and the CanadaCouncil Art Bank.

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Frank Mulvey

Frank Mulvey has a BFA and a Master’s degreefrom Concordia University. He has had severalsolo exhibitions and has exhibited his worksacross Canada. Frank’s work can be found inmany collections, private and public, including,Musée du Québec and the Canada Council ArtBank.

Imagine seeing the sublime in all things bothlarge and small. Imagine an art that opens por-tals to this experience. Imagine an artist who,in sacred silence, crafts these portals, whereworlds beyond sparkle like secret gems.Imagine the magic of that place, where onlyfew might venture. Imagine the purity ofintention, to not seek glory or wealth. Imaginethe privilege of being a witness. Imagine thisuniverse, and my father might quietly appear.

Homage to Frank R. Mulvey, 1923-2005

Frank MulveyIsland of Light, 2003charcoal on paper134.6 cm x 91.4 cm

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Eva EGERS (Egerszegi)

Eva Egers (Egerszegi) was born in Hungary. Shehas a BFA from Sir George Williams University anda MA(Ed) from Budapest. Exhibitions include solosat Klint Room in St Endre, Hungary (2004) andOrczy Hall in Budapest (2003). Eva is representedby Sauer Kunstler Contemporary Art Lexicon(Leipzig) and in the Who is Who in Europe.

Éva Egers (Egerszegi)June 21, 2003watercolour on paper81 x 56 cm

Change and growth take place when a person has riskedhimself and dares to become involved with experiment-ing with his own life and with his art.

Lois Valliant

Lois Valliant studied art at Concordia University,where she completed a BFA and MA. She went on tocuratorial work in university and commercial gal-leries. Her art historical interests include researchin postcolonial art historical themes. Lois Valliant

Red Essence portrait #1, 2005watercolour on paper38.5 X 28.5 cm

I paint watercolour‚ portraits. I am inspired by ancientChinese paintings of‚ flowers and birds‚ which was a particu-lar and respected genre. The reverence for nature as a sub-ject was an inspiration for these Chinese painters. Theirpaintings reflected the Buddhist concept that mankind andnature are essentially equivalent and that the soul of ahuman might be reborn in an animal or nature. For me, theessence of the flower and the essence of the person are equi-tably unique. The approach to‚ flower and bird‚ paintings wasalso characterized by the evocation of the subject rather thantrying to create a facsimile. It might be argued that thisdescribes both the discerning and deceptive nature of artmaking and in particular, the discerning and deceptivenature of flower painting and portraits of people. I attemptto evoke the essence of both subjects.

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Loren D. May

If I re t u rn to all the places I have ever been will I find my home?

If I cross the oceans and climb the mountains will I find a place to lie down?

If I walk around my mother’s chair a hundred times will I have a seat when the music stops?

My images celebrate the archetypical conflictbetween the darkest side of the ego and the enlight-ened spirit. These struggles are portrayed in dramas,depicting encounters with forces that are metaphorsfor our inner chaos. The work becomes a chronicle ofencounters with obstacles both physical and spiritu-al. It is an epic journey from defiance to acceptance,from fear to love.

Loren D. MayEverything She Does (chairwalk 2), 2005digital image10 x 45 cm

Shelley Reeves

Shelley Reeves has an MA in Fine Arts from theUniversity of Quebec in Montreal. She complet-ed her BFA at Concordia University afterreceiving a Diploma from The Alberta Collegeof Art. Recent exhibitions include FamilyPortraits (2003) at Gallery Vanderleelie,Edmonton, Binary Portraits (2002) at GalerieLuz and Cenésthésie (1998) at Galerie UQAM.

Shelley ReevesWhite lillies, 200456 x 102 cm

Loren D. May received her BFA from ConcordiaUniversity. Loren’s works primarily with text andimage in her computer generated art. She has participated in several exhibitions, includingText/Image at Powerhouse Gallery, Around and About Drawing and Two(Some) at Dawson College.She exhibited her digital work in a solo exhibition, APlace to Lie Down (1998).

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Lise-Hélène Larin has a BFA from ConcordiaUniversity and a MA in Fine Arts from theUniversity of Quebec in Montreal. She ispresently completing PhD in Fine Arts. Lise-Hélène’s 3D work has been selected atSiggraph, for three consecutive years and isnow part of an international travelling exhibi-tion. Her work was recently showcased on thelarge screen of at the Sony Centre in Berlin.Her films and sculptures have been shown inCanada, Belgium and the United States.

Painting by numbers (right) is a series of 3-D non-figurativeanimated films. My films are about absence and void in a vir-tual space devoid of a point of reference but filled with tex-tures that envelope the senses while piercing the eye. Theyare created to be installed in space where the viewer can besurrounded by an unusual architecture of mobile polygonalscreens for perception to be renewed and questioned whilethe body attempts physically to make sense of it all.

As the virtual camera infiltrated my work as a sculptor turn-ing my sculpture into film, it framed, froze and fixed myimages into those simulated photos, shown here, changingthe whole context of my work. “It has been there”, the famousRoland Barthes’s phrase, does not refer to reality as we knowit but to a virtual environment where polygons are surfacesfor (re)constructing images of textures. The polygons becomethe subjects of my simulated photos in the way I clothe themwith these images and arrange them in space. Instead ofcopying and imitating nature, I create new worlds the natureof which is numerical and “algorithmical”, abstractions thathopefully can escape representation. My simulated photosarrest the movement that stirs the imagination and allow thegaze to capture the virtual. They also allow the body to movealternately from the physical to digital space.

Lise-Hélène Larin

Marcia Massa

Marcia MassaFlame, 200511,71 X 4,72 cm

The more recent digital work I have created often emerges outof the spontaneous collage abstractions that I have been pro-ducing persistently for many years. However, as a result of thenew technology, i.e. scanners and Photoshop, I have encoun-tered the possibility of exploring these collages further, shiftingthem from their sometimes too immediate and raw expressioninto more reflective and contained images, without losing thelayers of their content. The meaning then seems to transformand become less fixed on the personal. It would appear that inthat process the personal becomes a seed in the universal.

Marcia Massa has a BA and a BFA from Concordia University aswell as a MA from McGill. Exhibitions include the solo, Settingsand Shards at Dawson College.

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Beverly Frumkin

Beverly Frumkin is an Art Historian. She completedher BA and MA at McGill University and hasreceived guide certification from the MontrealMuseum of Fine Arts.

"Only through art can we get outside of ourselvesand know another's view of the universe which isnot the same as ours and see landscapes whichwould otherwise have remained unknown to uslike the landscapes of the moon. Thanks to art,instead of seeing a single world, our own, we seeit multiply until we have before us as manyworlds as there are original artists ... And manycenturies after their core, whether we call itRembrandt or Vermeer, is extinguished, they con-tinue to send us their special rays."

from Marcel Proust (The Maxims of Marcel Proust, 1948)

Lorraine Simms

Lorraine Simms is a graduate of the OntarioCollege of Art and Design and ConcordiaUniversity, where she completed her MFA. Shehas exhibited in Canada and internationally.Lorraine’s recent solo shows include, The RealImaginary, at Sylviane Poirier art contempo-rain, Montreal, One and Only at NewzonesGallery in Calgary (2004), La Foule at GalerieOccurence, Moments Figés at Centre d’exposi-tion Expression, Proliférations at the McClureGallery (2002) and Shadow, at the A.R.C.Gallery in Chicago (2000).

Lorraine SimmsThief (Reflect), 2005oil on canvas146 x 452 cm

Since 1999 I have used images clipped fromthe newspapers, photographed from the tele-vision screen or downloaded from theInternet, as the subject of my paintings. I amfascinated by how information is implied bythese blurred, highly pixilated images, andcompelled by the difficulty of interpretingwhat I think I see, in paint.

I have come to value the anomalies present inthese photographs (blurriness, hard lines cre-ated from bad lighting, distortion from wideangle lenses), and to use these as part of mypainting vocabulary.

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Michael Smith,Copernican Path, 2005oil on canvas91.5 X 122 cmPhoto: Paul Litherland

In Smith’s work, the landscape is transformed by thecomplex interaction of cultural, political, psychologi-cal and social events that surround us. The paintingscombine memories of landscapes from the artist’spast with contemporary landscapes that lie beyondindustrial parks and commercial sites. Working fromimprovisations derived from historical works as wellas the artist’s own photographic montages assem-bled from visits, hikes and journals, the paintingslead to a layered reading of place.

Michael Smith

Michael Smith received his undergraduate edu-cation at St Alban’s College of Art andFalmouth College of Art in England. He wenton to Concordia University where he graduat-ed with a Master of Fine Arts degree. Michaelhas exhibited extensively. Recent solo exhibi-tions include Light and matter, at the NicholasMetivier Gallery in Toronto, Recent works atStudio 21 in Halifax (2005) and Recent paint-ings at Galerie de Bellefeuille in Montreal(2004) In January, the McClure gallery inMontreal will be presenting Wresting Vision(2006).

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Maureen McIntyre (frontispiece) completeddegrees from Concordia University and theUniversity of New Brunswick. An Art Historian,her professional experience includes her asso-ciation with the David Stewart Museum, theMacDonald Stewart Foundation, the Montrealmuseum of Fine Arts and the Quebec Ministryof Cultural Affairs. Maureen was involved inthe creation of a Museum for the Grey Nuns ofMontreal and has participated in muralrestoration work for the Canadian PacificRailway. Her most recent work has beeninvolved in research into the Montreal connec-tions in Maritime architecture.

Maureen McIntyre

For sometime now my work in painting hasbeen concerned with perceptions of time,space, scale and the effects of technology onnature. These interests have coalesced aroundthe genre of landscape. By creating series ofurban landscapes, I want to address issuessuch as the coexistence between the havesand the have-nots and the strain we areputting on our environment. Rather thandrawing from just one specific source foreach work, I propose to address these senti-ments through the creation of universalarchetypes of modern cities.

David Hall

David HallWaterway, 1997oil on canvas,183 x 139 cmPhoto: Paul Litherland

David Hall completed his BFA at Emily Carrand recieved his MFA from Nova Scotia Collegeof Art and Design. His paintings can be foundin public collections including the MontrealMuseum of Fine Arts, the Canada Council ArtBank and the Quebec Museum. Selected soloshows include Moon Windows, Paysagesurbains/Cityscapes (2003) and Skies (2001).David most recently exhibited his paintings atGalerie Lilian Rodriguez in Montreal (2005).

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The organizers of this biennial exhibition/catalogue project wish to thank all the people who generously contributed to the event.

A special thank you goes to the following people:Richard Filion, Director GeneralRon Spivock, Dean of Creative and Applied ArtsJulianna Joos and the Fine Arts DepartmentPlant and Facilities DepartmentHelen Wawrzetz

Exhibition Coordinators:Giuseppe Di LeoAndres Manniste

Catalogue:Andres MannisteAllan Pringle

An exhibition organised by the Fine ArtsDepartment for the Warren G. Flowers Gallery©Dawson College3040 Sherbrooke Street, WestMontreal, QuebecH3Z 1A4

ISBN 1 55016 206 3Dépôt légal-3ième trimestre 2005

Acknowledgements

Julianna Joos

Julianna Joos received her BA from Concordia University andher MA in Fine Arts from the University of Quebec in Montreal.She has had many solos shows and has participated in groupexhibitions around the world. This year her work was recog-nised by the the VII Biennale Internazionale dell' Incisione inAcqui Terme, Italy, where she was awarded the First Prize(Premio Acqui). Juliana's recent individual exhibitions include,Couleurs quantiques at Maison de la culture Côte-des-Neiges(2005), and Mouvement perpétuel, at the Chapelle historiquedu Bon-Pasteur (2002).

Who am I?

“Who am I then? Tell me first, and then, if I like being thatperson, I’ll come up; if not, I’ll stay down here till I’m some-body else.”“ Who are you?” said the Caterpillar. (…)“I –I hardly know, sir,just at present – at least I know who I was when I got up thismorning, but I think I must have changed several times sincethen.” “ Well! What are you?” said the Pigeon. “I can see you’re try-ing to invent something!” “ Come, there’s half my plan done now! How puzzling allthese changes are! I’m never sure what I’m going to be, fromone minute to another!…” “(…) I do wonder what can have happened to me! When I usedto read fairy-tales, I fancied that kind of thing never hap-pened, and now here I am in the middle of one. There oughtto be a book written about me, that there ought! And when Igrow up, I’ll write one – but I’m grown up now,” she added ina sorrowful tone, “at least there’s no room to grow any morehere.” “Have you guessed the riddle yet? ” the Hatter said, turningto Alice again.“No, I give it up,” Alice replied: “what’s the answer?”“I haven’t the slightest idea,” said the Hatter.“Nor I,” said the March Hare.

Carroll L., Alice in Wonderland, The Goldsmith Publishing Co.,New York, N.Y

Cover art:Julianna JoosDetails from Who Am I ?, 2004Jacquard tapestry150 X 120 cmPhoto credit: Flip image