黑料不打烊

Raymond Boisjoly works with text, photography, and images to contemplate modes of transmission and consider how language, culture, and ideas can be mediated, framed, or received. A Vancouver-based artist of Haida and Quebecois descent, Boisjoly expands on the Vancouver School鈥檚 post-conceptual photographic practices while attending to complex negotiations of Indigeneity in the context of colonialism. Interested in the ways that both images and language can break, distort, falter, or fail, Boisjoly draws on, and bends, vernacular conventions in language, photography, and fabrication. His works often interrogate their own place in the realm of fine art through the use of unconventional or rudimentary printing mediums (nylon tarp, sign-maker鈥檚 vinyl, office paper, or beer cans) and openly draw from popular culture or academic texts as raw material.

For his first solo museum presentation in the United States, Boisjoly will present new works suggestive of 3-D imaging alongside recent related pieces that provoke an ambiguity and tension between text and image. In a large-scale mural executed on site, the artist will abrade a beer can on the wall to render wavy, distorted text with a graphite-like quality. In this work, Boisjoly refers to complex histories of ritual, and tenders the possibility that a beer can may a tool for production rather than consumption. The exhibition鈥檚 title, The Explanatory Void, alludes to spectral presences like shadows and echoes as well as the sometimes-gaping gulf between language and experience.