Works by Kate Giles, Robin Lough, and Kathryn Wadel

Curated by Kate Giles

Location: James Black Gallery

Date and Time of Show: 15th-28th, September, 2018.


Information; cycling and processing through brain, body, and object. Once given brain, body, and object, open to manipulation, bruised and battering. At the other side of this cycling is information anew, different from what it set out to begin as.

Tirelessly working to get our brains back amidst the agency of these new objects. Physical and non physical; object and information; information become object. Between ourselves and the other objects of interactions, a new transformed object. Bruised and battered and manipulated anew.

In Circulationism, a process of the contemporary, information and image translation is an act of ‘in the meantime’. Old materials may be translated but our interactions, and thus our translations, adhere to the contemporary moment in which they are translated. This constant reprocessing of information is made more complex when we consider that the translations are not always at the hand of the ‘user’.

This concept is multiplicitous in its forms and context. This show considers different forms of translation through images and audio. Images and visual components reflect on sources, exploring authorship–or rather the idea of authorship– as it pertains to the nature of an artistic practice, utilizing source material, and delineating originality. This focus is most reflected through the contrast of works stemming from original photographs versus works using collected images of books. Wadel’s original photos reflect material transformations as landscape photography, made painting, made concept, as it is pulsed through multiple iterations– slowly fragmenting as the work becomes abstract paintings and then, abstracted quite literally, become become pieces of glass on the ground.

Giles’ work concerning books and boundaries of authorship utilizes the scanner as a third party information processor and creator. This process produces layered scans while trying to learn the habits of the machine as well as working to accept the artists limits against the scanner’s autonomy. As we consider the processing and display of information we must also consider boundaries and ownership– how many times must it circulate and be reprocessed to become original.

Lough’s audio experiments follow a similar process to the scanned books. Source information is taken in the form of audio recordings dependent on the physical context. These are rerouted through analog machines and processes, creating a new auditory experience through the maker’s creation and the inherent properties and abilities of the tools and devices used.

This show seeks to consider the processes of information. It is not about the dissemination of it, but rather the experience of information processing-how we utilize it or visualize it.


Kate Giles is an Ottawa Raised, Vancouver practicing artist with a practice focused on provisional processes, sculpture, and curating. Recently graduated from Emily Carr University of Art & Design, she completed a Bachelors in Visual Arts with a minor in Curatorial Practices. As an artist, her practice is predominantly engaged in experimental installation and fiber sculpture, as well as curating. This orientates her practice towards a mix of personally and art historically informed work. Her work is often concerned with bodies as well as the affects of nostalgia, mental illness, and trauma. Using provisional processes, she engages material to be evocative story-tellers, combining the conceptual with the limbic.

Robin Lough is an interdisciplinary artist from Smithers, BC, on Wetsuwet’en territory. She graduated from Emily Carr University in 2018 with a degree in community engaged arts, performance, and other interdisciplinary collaborations, and finds herself currently living and working in Vancouver, BC, on Coast Salish territories. Robin has always had a strong connection to community engaged arts, participating in festivals and various art events as a performer since a young age. Her practice also has a strong connection to environment, and her projects often include the use of recycled and natural materials, bringing attention to our place in the diverse ecosystems of the west coast. Robin’s most recent project was called Nostalgia (Smithers BC, 2018), a youth engaged collaborative dance performance that took place in the CICK Radio train car. She has worked with Still Moon Arts Society since 2017 as the Renfrew Ravine Moon Festival Production Manager. Robin was also a youth leader in the BV Arts Council’s ‘Into the Current’ project in Smithers(2014-2016).

Kathryn Wadel is an emerging artist based in Vancouver, British Columbia. In 2017, she completed her BFA degree at Emily Carr University of Art + Design, with a Visual Art major and Social Practice & Community Engagement minor. Kathryn is an interdisciplinary mixed media artist, exploring the relationships between culture, art, science and social-engagement within her practice.

In Kathryn’s current studio practice, she explores cognitive processes that develop, strengthen and degrade memories and perception of reality.Within this body of work, she likens the material transformations from her projection sculpture and paintings to the cognitive processes of the mind that form, recall and recreate memories. As themes transfer from one medium to another, Kathryn questions what is lost, gained and abstracted by the mind