Liljana Mead Martin


Artwork
        Geophilia    
        Negative [Space] Interface
        Stone Witness
        Night Blooming Cereus
        Building Blocks
        Inside the Day was Night
        Work Sets
        Pallas of Crushed Shells
       

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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.







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