LILJANA MEAD MARTIN











EXHIBITIONS    COLLABS    RESEARCH

Sink Or Shiver
07–02–22
Sink Or Shiver is a series of five sculptures presented at Zalucky Contemporary as part of a three artist exhibition in 2022. The series Sink Or Shiver is composed of fire charred pine, a wide range of electric pigments mixed by the artist, and resin. The forms cast from the artists body, are comprised of hands cupping bent knees and carved holes in the charred wood surfaces. The hollow shells in multi-coloured resins, become egg-like emergences bubbling out of the charred wood. At each end of the charred pine strands, carved tips mimic skate eggs, also called ‘mermaids purse’.
material pine, pigments, resin casts, hardware

Deep Thirst BioOrchestra as a body of work, imagines a new botanical species, the first returners of a fire-scorched landscape. This niche ecosystem takes on hybrid characteristics of humans and plants, as ears and other appendages amalgamate with mycelium and carnivorous pitcher plant forms. They sprout and drip out of charred branches in fluorescent colours, mimicking the electric hues of thermal gradient maps, highlighting connections between temperature and inhabitability.
material Arbutus,  brass round wire, polyurethane resin, fluorescent pigments, smoky blue moonstones.

Electric Preyer
07–15–2022
Electric Preyer casts human forms, ears and fingertips, mimicking fungal and floral life through surreal fluorescent ears, tubes and strands of flourescent biorubber. If terraforming is the process of making earth habitable for humans, these works propose an opposite action: remaking humanness in order to accommodate the hypersensitive world.
Electric Preyer was exhibited in NADA House, Governor’s Island Summer of 2022.
material
Maple, Juniper, Arbutus, polyurethane resin, fluorescent pigments, smoky blue moonstones, hardware.

Geophilia
04–03–21
Geophilia is a solo exhibition that queries the possibility of ever fully knowing the places we seek to love. The works are visceral in their tactility and bear the trace of the artists hybrid interests in sculpture and choreography. Hers is a practice of coming to know and unknow through touch, by probing limits and testing the pliability of the world around her. An examination of traces and fragments are key to this new series, which continues the artist’s investigation into the circulation of energy and the erosion of time. 
material
Arbutus,  brass round wire, polyurethane resin, fluorescent pigments, smoky blue moonstones, ink monoprints on paper, tinted acrylic, red sand, black sand, pigments, hydrostone, heat treated steel, wooden bases.

Negative [Space] Interface is composed of an installation of ink prints, taking the shape of charred threshholds in reference to the Wildlife Urban Interface. Through research into west coast forests and zoning terminology called the Wildland Urban Interface (WUI zones). Therein exists a transition zone between what is considered wildland and new human development. These artworks draw from  research on WUI zones to create these works, bridging questions between architecture, land, and ideas of progress, to share thresholds in transitional times.
materialink monoprints on paper, panels, installation.




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©liljanameadmartin
Liljana Mead Martin works at Studio #403 Artist Resource Centre (ARC) East Vancouver, British Columbia, Canada. These are the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Learn about Land Back