~SShaiiiniais le It’s Classical Linda Covit Alexandra Dikeakos Christos Dikeakos Sam Lam Ann McLaren Bob Strazicich Surrey Art Gallery Jan 8th- Feb.21st 1988 The Surrey Art Gallery has gathered a handful of artists together for a show under the ostensible umbrella theme of classical references. These include: an installation piece featuring Greek foun- tains by Linda Covit; collages, paintings and drawings by the Dikeakos’, based on Greek myths; still-life nude sketches by Sam Lam; draped body casts by Ann McLaren, evocative of Roman marble sculptures; and Vermeer-like still-lifes by photographer Bob Strazicich. Funny thing is, in the dialogue at the show's opening, the artists, with fairly much one voice, stressed “it’s not classical.” Bob Strazicich acknowledged the pigeon-holing that so often goes on when you’re a photographer— "romantic” vs “formalist”; he suggested that “classical” connoted a formal structure, and that perhaps the shows works would be more appropriately headed together under the “romantic” title, if any. Christos Dikeakos tried to explain that while using images that were representative of his own ethnic origins, if he used “classical” images at all, it was perhaps to step out of a present, rather than necessarily a flashback to the past. Ann McLaren denied vehemently that her work was-anything other than an experiment with materials. All agreed that an audience will see what they will see, and there isn’t much point arguing about it. But, having said all that, when you walk into the gallery you know why it’s called “It’s Classical.” The icons and images are everywhere, used not rever- ently but rather with a great deal of humour and a great deal of care. The first exhibit you come upon is Strazicich’s wondertul, lush, disgustingly saturated photos of rotting fruit and Rhinoceros beetles. The pictures are totally contrived, and the beets drip menacingly with blood. They are evocative of Cezanne’s still-lifes, or better, magazine food shots gone horribly wrong. The sound of running water draws you into the next room where Linda Covit’s minimal installation stands; slides and prints of an overgrown, once- pristine garden fountain cover the walls while a curious model of a dilapidated aquaduct takes up the only floorspace. The centre room holds the works of Christos and Alexandra Dideakos, sibling artists who both work with Greek myths but in completely different ways. Some of you might have seen Christos’ retrospective at the Vancouver Art Gallery last year. He works mainly in 3-D but also includes his photocopy sketches in his exhibits. | particularly liked his lead- masked Venus de Milos, hanging around with not much to do. Alexandras works represent those high-breasted young women we all know and love from those ancient vases, and she also does a lot with weaving; personal with mythological, branches with limbs, woman with nature - especially with her newer pen and ink drawings. The final room is left to two 1987 Emily Carr graduates, Sam Lam and Ann McLaren. Lam’s sketches are very traditional, but act as a nice complement to McLaren’s sculptures, and | under- stand he is going to have a solo show there later in the year which will perhaps show off his much wider scope. | do like his almost Oriental-style etching of a nude woman reclining, the lines suggestive rather than explanatory. Ann McLaren’s work stirred up the most curi- ousity, especially those heads of Booth that blow their cheeks out at you so disturbingly. You might recog- nize some of the pieces from the grad show last year, the marble-like drapery stepping out into space, the shroud-like painted woman lounging around on the floor. Her works carry a real resonance in the gallery space. All in all, curator Ann Rosenburg has found a great excuse to bring a diverse group of artists and their works together. Ann Marie Fleming Planet of the Arts Vol. 3 Number 4 12 Planetofthe Arts Vol. 3 Number 4 It’s Classical Linda Covit ‘Alexandra Dikeakos Christos Dixoakos ‘Sam Lam ‘Ann McLaren Bob Strazicich Surrey Art Gallery Jan 8th- Fab 21st 1988 ‘The Surrey Art Gallery has gathered a handful of atists together for a show under the ostensible umbrella theme of classical references. Theso include: an installation piece featuring Greek foun- tains by Linda Covit; collages, paintings and drawings by the Dikoakos’, based on Grook myths; sti-ife rude sketches by Sam Lam; draped body casts by ‘Ann MeLaren, evocative of Roman marble sculptures: and Vermeer-ke stil-ifes by photographer Bob Strazicich, Funny thing is, In the dialogue at the show's ‘opening, the artists, with fairly much one voice, stressed “i's notclassical” Bob Strazicich acknowledged the pigeon-holing that g0 often goes on when you'te a photographer— romantic” vs “Yormalist"; he suggested that “classical” connoted a formal structure, and that perhaps tha shows works would be more appropriately headed gether under the “romantic” ttle, i any. Christos Dikeakos tried to explain that while using images that were representative of his own ethnic origins, ithe Used “classical” images at al, it was perhaps to stop out of a present, rather than necessarily a flashback tothe past. Ann McLaren denied vehemently that her work was anything other than an experiment with ‘materials. All agreed that an audience will see what they will seo, and there isn't much point arguing about i But, having said all thet, when you walk into the galery you kaau why i's called "W's Classical” Tho ‘cone and images are everywhare, used ot rever- ‘only but rathor with a great deal of humour and a reat deal of care “Tho fist exhibit you come upon is Straziich's wonderful, lush, disgustingly saturated photos of toting tut and Rhinoceros beetles. The pictues aro totally contrived andthe boots crip menacingly with blood. They aro evocative of Cezanne’ stilts, or Dotter, magazine food shots gone horribly wrong. Te sound of running water draws you into the noxt room wire Linda Covi's minimal instalation Stando;sides and prints ofan overgrown, once- pristine garden fourtain cover the walls whlo a Curious model of a diapidetod aquaduct takes up the only orspace, The cart room holds the works of Christos and Dideakos, sibling arsts who both work 3k myths but in complatoly diferent ways ‘Some of you might have seen Christos’ retrospective atthe Vancouver Art Galery lat year. Ho works mainly in 3-D but also includes his photocopy sketches in his exhibits. | pariculary liked his lead- masked Venus do Milos, hanging around with not much to 60, ‘Alexandras works roprosen those high-broasted young women we all know and ove from thos ancient vases, and sho also does a lot wth weaving; porsonal with mythological, branches wit ime woman wth nature - espocaly with her newer pen and ink drawings. “The fnal oom i lato two 1987 Emly Car graduates, Sam Lam and Ann MeLaren. Lam's sketches are vary traditional, but act a8 a nice comploment to McLaren's sculptures, and | undor- stand he is going to havea solo show thee latrin the year which wil perhaps show off his much wider scope. 140 Ike his almost Orinta-tye etching ofa rude woman reclining, the lines suggestive rathor ‘than explanatory. ‘Ann McLaren's wor sired up the most cur- cusity, especial thse heads of Booth that biow thoi chooks out at you so cistubingly. You might rocog- nize some of the places from the grad show last year, the marbo-ike érapory stepping out into space, tho shroud:ke painted woman lounging around onthe floor. Her works carry areal resonance inthe galory space. Alin all, curator Ann Rosenburg has found a reat excuse to bring a diverse group of arts and thoir works together. 12 Ann Marie Fleming