> a more simplistic mode of rn photographer to examine photography to an intuitive ight vessel, along with a fresh ached before. =n the capacity of the artist, ely small aperture size, often )pular snap shot” aesthetic a liquor bottle container , with paper negative then contact > /rc paper negative, contact Robert Linsley and Yvonne Lp Bakerview Motel 1998 #53 from one hundred views of Mt. Baker, 1998 Kate Craig Untitled, 1998 The recent show at Presentation House Gallery, (October 28 to November |) Pinholes in Paradise, brought forward the talents of such local artists as Corinne Corry, Diane Evans, Lynda Gammon, Arni Haraldsson, Storme Morrison, Neil Wedman and Christine Wight. As a fundraiser, the challenge for this exhibition was for the participants to embrace the underpinnings of the pinhole camera and produce works within its historically founded potential. The result was a showcase of vastly different styles, which ranged from; the incredibly lens sharp images of Geoffrey James, to Henry Robideau and Brenda Hemsing’s alternative processes, to Marian Penner Bancroft and Chick Rice’s traditionally styled, ethereal images. The sensibilities regarding aesthetics and techniques in the show created a wide range of emotive imagery. There were examples of everything from images that invested the inherent distortions and blur generally associated with pinhole photography, to controlled, pin-sharp images that vaguely had a semblance to typical imagery made with such simple technology. Kate Craig’s untitled black and white infra-red image of an upright bear along side a river carries a certain sense of humour, for it seems impossible that such an image could have been made with such primitive equipment. The curious juxtaposition of Roy Arden’s Sunflower | &2 and Gutter along with its clip framing speaks of a more pedestrian social sensibility. Robert Linsley (in collaboration with Yvonne Ip) takes on the original notion of the camera obscura in the image Bakerview Hotel # 53 from One Hundred Views of Mount Baker. The inverse motel room image was then documented with a 35mm camera onto color film.As well, taking industrial waterfront images to an amazing level of sharpness and facility is none other than Geoffrey James, who almost transcends any sense of the quirks associated with the pinhole medium through his clean and clear orderliness. Conversely, Randy Bradley’s landscape work titled Homeward Bound embraces the pensive notions of memory and loss through its extremely soft focus and blending of tones. Jim Breukelman’s five images of the Burnaby Lake and Lynn Valley areas depict an elegant view of the landscape along with a strong sense of technical control. Carol Sawyer’s conceptual piece Neil Wedman sits still for fifteen minutes is reminiscent of the early stages of photography and the telltale intense gaze of the sitter. Meanwhile, Helen (by Alex Waterhouse-Hayward) was the only formal nude study in the show, and curiously it was also the work that commanded the highest bid during the exhibition auction. The cameras used by the photographers in Pinholes in Paradise ranged from commercially made wooden pinhole cameras to intrinsically conventional homemade box cameras. Even found objects were used, including cigar boxes, candy tins, and a Kodak slide tray box. In addition, a healthy helping Dianas, Hasselblads, Mamiyas, Nikons, Pentaxes, and assorted view cameras added a sense of irony to the included imagery. This use of commercially made cameras, to function under the guise of homemade cameras, carries with it a certain sense of resolve. It is intriguing to use a camera with the capability of pin sharp images along with extended operating facility under the implication that one is using a simple lensless device. The practice of pinhole work seems to call on the sheer simplicity, and, if you please, the satisfaction of constructing and understanding a light tight box that has the propensity to make photographs sans- lens. The modern day fascination with pinhole images allows artists to use the medium to experiment with its unique characteristics and potentials while exploring both frivolous and poignant topics. The accomplished work shown by the diverse group of participants in this show represents the level of regard artists in the local community have for the Presentation House. Their continuing exhibitions indicates the position the photographic medium will continue to have with respect to fund-raisers such as this. Geoffrey James Untitled, Vancouver 1998 1d peued UT YOKOUU 3oYT Alex WaterHouse- Hayward Helen, 1998 Roy Arden Sunflower 2, 1998 December 1998 influx 26053 concrete ‘15 > a more simplistic mode of rn photographer to examine photography to an intuitive ght vessel, along with a fresh ached before. an the capacity of the artist, ely small aperture size, often »pular "snap shot” aesthetic = iquor bottle container . with paper negative then contact re paper negative, contact Robert Linsley and Yvonne Lp Bakerview Motel 1998 #53 from one hundred views of Mt. Baker, 1998 Kate Craig Geoffrey James Untitled, 1998 Untitled, Vancouver 1998 The recent show at Presentation House Gallery, (October 28 to November I) Pinles in Porodse, brought forward the talents of such local artists as Corinne Corry, Diane Evans, Lynda Gammon, Ani Haraldsson, Storme Morrison, NeilWedman and Christine Wight As a fundraiser. che challenge for this exhibition was for the part embrace the underpinnings of the pinhole camera and produce works within its historically founded potential. The resule was a showcase of vastly different styles which ‘anged fromthe incredibly lens sharp images of Geoffrey James, to Henry Robideau and Brenda Hemsing’s alternative processes, o Marian Penner Bancroft and Chick Rice’s traditionally styled, ethereal images, “The sensibtes regarding esthetics and techniques inthe show created a wide range ‘of emotive imagery There were examples of everything from images that invested the inherent distortions and blur generally associated with pinhole photograpy, to controlled pin-sharp images that vaguely had a semblance to typical imagery made with such simple technology. Kate Craigs untitled back and white infra-red image of an Upright bear along side river carries a certain sense of humour ori seems impossible that such an image could have been made with such primitive equipment. The curious juxtaposition of Roy Arden: Sunflower 1&2 and Gtr along with ts clip framing speaks ‘fa more pedestrian socal sensibly. Rober Linsey (in collaboration wth Yvonne Ip) takes on the orignal notion of the camera obscura inthe image Bokervew Hote $3 from One Hundred Views of Mount Boker. The inverse motel room image was then documented with a 35mm camera onto color film. As well taking industria waterfront images to an amazing level of sharpness and faliy is none other than Geoffrey James, wh almost transcends any sense of the quirks associated with the pinhole medium through his clean and clear orderliness. Conversely, Randy Bradley's landscape work titled Homeward Bound embraces the pensive notions of memory and loss through ts ‘extremely sof focus and blending of tones Jim Breukelmans fe images ofthe Burnaby Lake and LynnValey areas depict an elegant view of the landscape along with a strong sense of technical control. Carol Sawer's conceptual piece Ne of photography and the telitale intense grze Waterhouse-Hayward) was the only formal n also the work that ded the highest bid during the exhibition aucto The cameras used by the photographers in Pnhole: in Poradie ranged from commercially made wooden pinhole cameras to int box eameras, Even found obj Kodak side tay box. In 3 Peneaxes, and assorted vi This use of 1 of the early stages ‘the sitter, Meanwhile, Helen (by Alex Je study inthe show.and curiously was ly conventional homemade ar boxes, candy tins, and a ion. healthy helping Danas, Hasselblad, Mamas, Nikons, mera added a sense of irony to the included imagery. mercially made cameras, to function under the guise of homemade cts were used, including cg cameras, carries with ia certain sense of resolve, It is intriguing to use a camera with the capability of pin sharp images along with extended operating fly under the implieation that one is using a simple lenslese device. The practice of pinhole work Seems to cal onthe sheer simplicity, and. f you please, the satisfaction of con and understanding alight tight box that has the propensity to make phot lens ps sans “The modern day fascination with pinhole images allows artists co use the experiment with its unique characteristics and potentials while exploring both frivolous ad poignant topics. The accomplished work shown by the diverse group ‘of participant in this show represents the level of regard artist in the local community have forthe Presentation House. Their continuing exhibitions indicates the position the photographic medivm will continue to have with respect to fund-raisers such as this medium - Alex WaterHouse- Hayward Helen, 1998 Roy Arden Sunflower 2, 1998 December 1998 © id peued UT vaxouuT SyvT influx 26053