The Listener II. 
Polyurethane rubber, brass stem, charred wood. 2021.

Opens March 6th, 2021. 
Exhibition Press Release. 
Geophilia is a solo exhibition of new work by Liljana Mead Martin that queries the possibility of ever fully knowing the places we seek to love. Martin’s works are visceral in their tactility and bear the trace of her 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.

The Listener (2021) is a charred tree trunk laid horizontally, knotted on one end by a tightly bound root bundle. New growths appear to be sprouting forth out of this nurse log in the form of brass stems and surreal fluorescent petals, with delicately flowering heads cast from the artist’s ear. Feeders (2021) is an accumulation of spiny pinchers, fingery protrusions amassed in a crowded formation that resemble barnacles. Conical mounds budding skywards, Drifting flex (2021) consists of bent elbows poised as though readied to unfurl. Throughout Geophilia, the body is understood as a tool that creates an imprint on the earth, whilst simultaneously assuming postures that mimic various forms of life. Disinterested in anthropomorphizing the botanical or the geological, Martin is instead devoted to new ways of being in relation with the surrounding environment. If terraforming is the process of making earth habitable for humans, Martin proposes an opposite action: remaking humanness in order to accommodate the feeling world.  Her works directly challenge any presumption of the world as unfeeling, inanimate, or unconscious.

The sculptures are gestural in their grasping, caressing, overflowing, caving inwards or hollowing out. Frequently, Martin casts hands that evoke digging movements, but she also buries things inside her casts: sand, soil, juniper, and dried flowers, as well as insulation, plastics, fungicide and scrap metals. This process of worlding is not purist, but grapples with the contemporary realities of toxicity and contamination. Taken together, the complex material accretions are attentive to overlapping and entirely incompatible lifespans, contradictions that can make a place so difficult to know.

BIOMASS, Volume 1.

Eve TagnyAlexis L.-GriséLiljana Mead Martin, Emily ChudnovskySteven Cottingham and Justin Apperley. 

Liljana Mead Martin. Negative [Space] Interface. 2021

Ink monoprints on paper, on panel.

For the full interview and group exhibition,

Stone Witness
Abbas Akhavan, Tanya Busse, Liljana Mead Martin.
Curated by Jesse Birch at Nanaimo Art Gallery. 

The Bedrock Gardener. 2019.Gypsum, plaster, hydrostone, cement, black sand, red sand, juniper, reflective insulation, found plastics, dry pigment. 

Exhibition text by Jesse Birch.

“In rocky mounds, boulders, and cliffs, when shadows fall, where lichen grows, where cracks appear, we see faces. However grotesque, we see ourselves. This desire to be reflected in the stony landscape also has scientific grounding, as we are made of minerals. But this empathy with the land has limits. What do shareholders and mine operators perceive as they level entire mountains? How are we reflected in tar sands operations that move more sediment in a year than all of the world's rivers combined? How do we understand the discrepancies between those who profit from extraction and those who feel the effects? Who is burdened with the role of witnessing and how much can they endure? We project our visages onto the land, but a Stone Witness sees it differently and can give testimony for millennia.

Through drawing, video, and sculpture, artworks by Abbas Akhavan, Tanya Busse, and Liljana Mead Martin consider human cultures of extraction in relation to geological time. Works in the exhibition include paintings made with organic light sensitive materials on paper made of stone, a video installation that conjures resistance to the resource extraction that fuels the military industrial complex, and sculptural works that trace connections between the body and the violence of the endless excavation and construction in the built environment.

This exhibition is set in a place with a very specific relationship to geology. Nanaimo, BC is a former coal mining town on the territory of the Snuneymuxw people, marked by petroglyphs carved in stone that speak to origin stories and cultural rights to the land, and undercut by mine shafts extracted through one hundred years of subaltern labour. That Nanaimo rides the northern edge of the Cascadia subduction zone makes the site of this exhibition even more resonant.” 

The Bedrock Gardener. 2019. Gypsum, plaster, hydrostone, cement, black sand, red sand, juniper, reflective insulation, found plastics, dry pigment. 
Expansive Bind (background). 2019. Hydrostone, sand, salt, dirt, plaster, burnt cedar, charcoal, dry pigment. 

Just A Scratch (III) 2019. Hydrostone, dirt, sand, plaster, charcoal, gauze, dry pigment, tinted acrylic shelf.

Night Blooming Cereus; Queen of the Night
2020. Hydrostone, black sand, iron oxide, dried cactus flower, charcoal, ink, cement, 8’ x 2’ x 1.5’. Shown in Jelena and the Magic Flute, curated by Dan Starling. Courtesy of CSA Space. 

Exhibition details and accompanying writing by Dan Starling here.

Building Blocks
2019. Photographs, paper, pigments, cement, plaster, flagging tape.

Photographs by Denis Ogrinc.

Liljana Mead Martin is a visual artist working in mediums of sculpture and choreographed performance. Her artwork explores the material ecologies of digging, cultivation and deep time. Martin’s research is focused on the ways by which we grow sensitivity and resilience within dark ecologies and toxic habitats.

In recent work Martin considers the recprocity between bodies and land, both natural and constructed. Materials gathered in the studio for sculpture are often recycled and repurposed to form an alchemy between the body and environmental conditions.

Born in Nova Scotia and raised between North America, Australia and Europe. Martin’s parents were students of the Tibetan Buddhist teacher, Chögyam Trungpa Rinpoche, and the community of writers, artists and teachers whom she grew up with had a profound impact. These early influences heightened questions pertaining to impernanence, phenomenology, ontology and exchanges with the natural world.

Martin’s work has been exhibited at The Klondike Institute for Arts and Culture (Dawson City Yukon Territory), Artscape Gibraltar Point (Toronto Island ON) Dynamo Arts Association (Vancouver), CSA Space (Vancouver), Recess (NYC), the Nanaimo Art Gallery (Vancouver Island), and BIOMASS (worldwide). In Spring 2021, Martin will be exhibiting with Wil Aballe Art Projects, Vancouver. 

Published Texts

- Forests, Fantasy and the Knowledge Industry
- Drawings with Metal and Sunscreen
- Pulp, Synthesis

Float School. Pedagogical Experiments and Social Actions. Published by Living Labs, Emily Carr University of Art + Design

Studio: Duplex Arts Society
Vancouver BC Canada

email: liljanameadmartin [@] gmail [.] com

For Upcoming Exhibitions follow:
IG: liljana_mead