Pulp Fiction is a great exhibition that showcases a uniquely North American trend in art practice which sprung out of the 1990’s and continues on to this day. It arose out of the need for emerging Canadian talent to find spaces and networks in order to collaborate and create new work. Because of a lack of funding and available exhibition spaces, artists sought out like-minded others, self-organized exhibition spaces and created opportunity for themselves. This led to the development of a certain style of making: a free-spirited, playful and humorous creative output.
I remember ‘zines being a huge promotional and monetary tool for emerging artists while I was in art school. It seemed like everyone was making ‘zines. They were narrative, political, dynamic, and reinforced the artists practice, almost like a second artist statement. Peter Thompson’s drawings were typical in terms of the ‘zine work that was emerging at that time. His drawings are dynamic and edgy playing with humour and satire as much as they formally satisfy.
James Kirkpatrick embodies the mixed media sculptural side in this exhibition with his installation, The Talking that Influences Everything that Still Goes on Those that Allow it to Happen (2007-2008). His way of making by hatching together found materials and creating playful, imaginary scenarios had a large following. It developed out of the fact that artists did not have funding to make work, so the work evolved into a more affordable style of production.
Corinna Ghaznavi curates a great snapshot of a unique subculture in contemporary Canadian art.
-- David Yu
(Images from top to bottom: Amy Lockhart, animation still from Walk for Walk, 2006, Courtesy of the Artist, © Amy Lockhart; Seth Scriver and Shayne Ehman, Air Brushed Scenes from Asphalt Watches, 2006, 2 of 3, paint on car hood, Collection of the Artists, © Seth Scriver and Shayne Ehman. Courtesy of the artists and MOCCA, Toronto)