Signs of Life; an intimate portrait of someone I don’t know , installation view
Artist: Yvonne Singer
Work ID: 71418
Description: Loop Gallery, Toronto. Photo: Thomas Blanchard.
Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : digital prints, glass, steel, handwritten charts and graphs
Collection virtuelle : Original CCCA
Oeuvre d'art par Yvonne Singer
Back to Back
Artist: Yvonne Singer
ID : 71518
Description: Toronto Sculpture Garden, Toronto. Photo: Bill Greer.
Back to Back explores the boundaries between public/private and inside/outside, shifting always between the two positions. It questions the relationship between our psychological state and our physical body. The figures are shells, cast from moulds made directly from the naked backs of my husband and I. The mould making and casting process is repetitive, but produces figures that are unique. All the figures are headless and hollow. The placement of the figures and the imprint of an absent body suggest an event that has happened or is about to happen; a suspended and elusive moment.
Des mesures : body fragments: each 111.76 x 60.96 x 15.24 cm
Collection:
Date de réalisation : 1985
Matériaux : hydrocal , burlap, silicone [30 wall mounted body fragments; 20 freestanding figures]
Collection virtuelle : Original CCCA
Hide and Seek
Artist: Yvonne Singer
ID : 72578
Description: Site specific installation for the exhibition Interventions in the Landscape, Brock University, St. Catharines, Ontario.
Curator Merijean Morrissey-Clayton.
The female body has often been equated with nature. By juxtaposing these plaster body casts against the tree, /Hide and Seek is a playful expression of the male and female relationship between the phallic trees and the soft body shells.
Des mesures : 160.02 x 76.2 cm
Collection:
Date de réalisation : 1985
Matériaux : burlap, hydrocal plaster
Collection virtuelle : Original CCCA
Back to Back
Artist: Yvonne Singer
ID : 71517
Description: Toronto Sculpture Garden, Toronto. Photo: Bill Greer.
Back to Back explores the boundaries between public/private and inside/outside, shifting always between the two positions. It questions the relationship between our psychological state and our physical body. The figures are shells, cast from moulds made directly from the naked backs of my husband and I. The mould making and casting process is repetitive, but produces figures that are unique. All the figures are headless and hollow. The placement of the figures and the imprint of an absent body suggest an event that has happened or is about to happen; a suspended and elusive moment.
Des mesures : body fragments: each 111.76 x 60.96 x 15.24 cm
Collection:
Date de réalisation : 1985
Matériaux : hydrocal , burlap, silicone [30 wall mounted body fragments; 20 freestanding figures]
Collection virtuelle : Original CCCA
Art About Art, detail
Artist: Yvonne Singer
ID : 72584
Description: Exhibited at White Water Gallery, North Bay, Ontario.
There are several narratives woven into this complex installation. There are references to the history of art (cubism and expressionism) as well as to feminist theory about the social construction of gender, body image, reproduction. It is also a narrative about the tensions between the domestic and artistic spheres.
Des mesures : variable
Collection:
Date de réalisation : 1986
Matériaux : hyrdocal plaster, acrylic, graphite
Collection virtuelle : Original CCCA
Art About Art, detail
Artist: Yvonne Singer
ID : 72583
Description: Exhibited at White Water Gallery, North Bay, Ontario.
There are several narratives woven into this complex installation. There are references to the history of art (cubism and expressionism) as well as to feminist theory about the social construction of gender, body image, reproduction. It is also a narrative about the tensions between the domestic and artistic spheres.
Des mesures : variable
Collection:
Date de réalisation : 1986
Matériaux : hyrdocal plaster, acrylic, graphite
Collection virtuelle : Original CCCA
Art About Art, installation view
Artist: Yvonne Singer
ID : 72581
Description: Exhibited at White Water Gallery, North Bay, Ontario.
There are several narratives woven into this complex installation. There are references to the history of art (cubism and expressionism) as well as to feminist theory about the social construction of gender, body image, reproduction. It is also a narrative about the tensions between the domestic and artistic spheres.
Des mesures : variable
Collection:
Date de réalisation : 1986
Matériaux : hyrdocal plaster, acrylic, graphite
Collection virtuelle : Original CCCA
Art About Art, detail
Artist: Yvonne Singer
ID : 72582
Description: Exhibited at White Water Gallery, North Bay, Ontario.
There are several narratives woven into this complex installation. There are references to the history of art (cubism and expressionism) as well as to feminist theory about the social construction of gender, body image, reproduction. It is also a narrative about the tensions between the domestic and artistic spheres.
Des mesures : variable
Collection:
Date de réalisation : 1986
Matériaux : hyrdocal plaster, acrylic, graphite
Collection virtuelle : Original CCCA
In the room, detail
Artist: Yvonne Singer
ID : 72587
Description: Exhibited at Rodman Hall, St. Catharines. Ontario.
The drawings on the wall are enlarged silhouettes of the figures on the ground. The figures are in various states of tension and arrested motion. I see them as alienated and isolated from one another. They reminded me of the T.S Eliot poem, The Wasteland. ["In the room, the women come and go talking of Michaelangelo"].
Des mesures : drawings: 0.4872 m
Collection:
Date de réalisation : 1987
Matériaux : hydrocal plaster, graphite
Collection virtuelle : Original CCCA
In the room, installation view
Artist: Yvonne Singer
ID : 72585
Description: Exhibited at Rodman Hall, St. Catharines. Ontario.
The drawings on the wall are enlarged silhouettes of the figures on the ground. The figures are in various states of tension and arrested motion. I see them as alienated and isolated from one another. They reminded me of the T.S Eliot poem, The Wasteland. ["In the room, the women come and go talking of Michaelangelo"].
Des mesures : drawings: 0.4872 m
Collection:
Date de réalisation : 1987
Matériaux : hydrocal plaster, graphite
Collection virtuelle : Original CCCA
In the room, detail
Artist: Yvonne Singer
ID : 72586
Description: Exhibited at Rodman Hall, St. Catharines. Ontario.
The drawings on the wall are enlarged silhouettes of the figures on the ground. The figures are in various states of tension and arrested motion. I see them as alienated and isolated from one another. They reminded me of the T.S Eliot poem, The Wasteland. ["In the room, the women come and go talking of Michaelangelo"].
Des mesures : drawings: 0.4872 m
Collection:
Date de réalisation : 1987
Matériaux : hydrocal, plaster
Collection virtuelle : Original CCCA
In the room, detail
Artist: Yvonne Singer
ID : 72588
Description: Exhibited at Rodman Hall, St. Catharines. Ontario.
The drawings on the wall are enlarged silhouettes of the figures on the ground. The figures are in various states of tension and arrested motion. I see them as alienated and isolated from one another. They reminded me of the T.S Eliot poem, The Wasteland. ["In the room, the women come and go talking of Michaelangelo"].
Des mesures : drawings: 0.4872 m
Collection:
Date de réalisation : 1987
Matériaux : hydrocal plaster, graphite
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72362
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : variable
Collection:
Date de réalisation : 1988
Matériaux : concrete, plaster, ink, CT scan
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72363
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : 137.16 x 76.2 cm
Collection:
Date de réalisation : 1988
Matériaux : concrete, plaster, ink, CT scan
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72359
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : 137.16 x 76.2 cm
Collection:
Date de réalisation : 1988
Matériaux : concrete
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72358
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : variable
Collection:
Date de réalisation : 1988
Matériaux : concrete, plaster, ink, CT scan
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72361
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : figure: 152.4 x 76.2 cm
Collection:
Date de réalisation : 1988
Matériaux : figure: ink, concrete, metal; drawing: graphite on paper
Collection virtuelle : Original CCCA
Contradictions and Possibilities, installation detail
Artist: Yvonne Singer
ID : 72360
Description: Installation at Niagara Artists' Centre, St. Catharines, Ontario.
Contradictions and Possibilities is an installation consisting of a series of concrete figures, drawings, a CT scan of a brain and small hand casts. Using various media, the work investigates the ways in which the body records and responds to emotions and trauma.
Des mesures : variable
Collection:
Date de réalisation : 1988
Matériaux : concrete, graphite, ink
Collection virtuelle : Original CCCA
My Lips are Sealed, detail
Artist: Yvonne Singer
ID : 72356
Description: Installation at Workscene Gallery, Toronto.
My lips are sealed explores the various ways of expressing the psychological tensions in intimate relationships with family and friends. The angry words and psychological labels inscribed on the wall, the mirror and photographs reference how we are viewed from different perspectives. This installation was also responding to its location opposite a mental health institution.
Des mesures : variable
Collection:
Date de réalisation : 1989
Matériaux : plaster cast, mirror, hair, graphite
Collection virtuelle : Original CCCA
My lips are sealed, detail
Artist: Yvonne Singer
ID : 72357
Description: Installation at Workscene Gallery, Toronto.
My lips are sealed explores the various ways of expressing the psychological tensions in intimate relationships with family and friends. The angry words and psychological labels inscribed on the wall, the mirror and photographs reference how we are viewed from different perspectives. This installation was also responding to its location opposite a mental health institution.
Des mesures : variable
Collection:
Date de réalisation : 1989
Matériaux : plaster cast, mirror, hair, graphite
Collection virtuelle : Original CCCA
My lips are sealed, detail
Artist: Yvonne Singer
ID : 72351
Description: Exhibited at Workscene Gallery, Toronto.
My lips are sealed explores the various ways of expressing the psychological tensions in intimate relationships with family and friends. The angry words and psychological labels inscribed on the wall, the mirror and photographs reference the public and private construction of self. It draws attention to the silencing and taboos around issues of abuse. This installation was also responding to its location opposite a mental health institution.
Des mesures : variable
Collection:
Date de réalisation : 1989
Matériaux : plaster cast, mirror, hair, graphite
Collection virtuelle : Original CCCA
My lips are sealed, detail
Artist: Yvonne Singer
ID : 72350
Description: Exhibited at Workscene Gallery, Toronto.
My lips are sealed explores the various ways of expressing the psychological tensions in intimate relationships with family and friends. The angry words and psychological labels inscribed on the wall, the mirror and photographs reference the public and private construction of self. It draws attention to the silencing and taboos around issues of abuse. This installation was also responding to its location opposite a mental health institution.
Des mesures : variable
Collection:
Date de réalisation : 1989
Matériaux : plaster cast, mirror, hair, graphite
Collection virtuelle : Original CCCA
My lips are sealed
Artist: Yvonne Singer
ID : 72352
Description: Exhibited at Workscene Gallery, Toronto.
My lips are sealed explores the various ways of expressing the psychological tensions in intimate relationships with family and friends. The angry words and psychological labels inscribed on the wall, the mirror and photographs reference the public and private construction of self. It draws attention to the silencing and taboos around issues of abuse. This installation was also responding to its location opposite a mental health institution.
Des mesures : variable
Collection:
Date de réalisation : 1989
Matériaux : plaster cast, mirror, hair, graphite
Collection virtuelle : Original CCCA
My/your/our Wedding, detail
Artist: Yvonne Singer
ID : 72369
Description: Exhibited in The Wedding Show curated by Dr. Shelley Hornstein, Art Gallery of York University.
The sculptures on the glass table challenge the romantic representation of weddings by presenting the sexual tensions and pressures that underline the public aspect of weddings.
Des mesures : variable
Collection:
Date de réalisation : 1990
Matériaux : lead, plaster, rubber, glass, steel
Collection virtuelle : Original CCCA
Neon for j.e. atkinson
Artist: Yvonne Singer
ID : 72364
Description: Commissioned by Atkinson College, York University. This work is installed at the entrance to the building and, presenting his signature in neon, commemorates J.E. Atkinson, the founder of Atkinson College for continuing education.
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : neon
Collection virtuelle : Original CCCA
Isn’t your/my mother beautiful?, detail
Artist: Yvonne Singer
ID : 72366
Description: Installation at the Samuel Zacks Gallery, York University.
This work deals with the charged relationship between mothers and daughters.
Des mesures : variable
Collection:
Date de réalisation : 1990
Matériaux : electrical cord, glass shards, wooden chair
Collection virtuelle : Original CCCA
My/your/our Wedding
Artist: Yvonne Singer
ID : 72368
Description: Exhibited in The Wedding Show curated by Dr. Shelley Hornstein, Art Gallery of York University.
The sculptures on the glass table challenge the romantic representation of weddings by presenting the sexual tensions and pressures that underline the public aspect of weddings.
Des mesures : variable
Collection:
Date de réalisation : 1990
Matériaux : lead, plaster, rubber, glass, steel
Collection virtuelle : Original CCCA
Isn’t your/my mother beautiful?, detail
Artist: Yvonne Singer
ID : 72367
Description: Installation at the Samuel Zacks Gallery, York University.
This work deals with the charged relationship between mothers and daughters.
Des mesures : variable
Collection:
Date de réalisation : 1990
Matériaux : electrical cord, glass shards, wooden chair
Collection virtuelle : Original CCCA
Isn’t your/my mother beautiful?
Artist: Yvonne Singer
ID : 72365
Description: Installation at the Samuel Zacks Gallery, York University.
This work deals with the charged relationship between mothers and daughters.
Des mesures : variable
Collection:
Date de réalisation : 1990
Matériaux : electrical cord, glass shards, wooden chair
Collection virtuelle : Original CCCA
Fragments for a Story: Dear Doctor
Artist: Yvonne Singer
ID : 72353
Description: Installation at Workscene Gallery, Toronto.
Fragments for a Story is an installation investigating body-related anxieties such as those we experience at times of transition like puberty. Etched on two glass shelves facing each other on opposite walls of the gallery is a letter sent by an adolescent girl and boy to an advice column called, Dear Doctor. The girl is concerned about being seen as a slut because of her large breasts. The boy is worried about his voice breaking and hoping it is not a permanent condition.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : powdered plaster, glass shards, etched glass panels
Collection virtuelle : Original CCCA
Search for Definition, detail
Artist: Yvonne Singer
ID : 72373
Description: Exhibited at the Brock University Gallery, St. Catherines, Ontario.
I asked my colleagues and students to pose with their eyes closed in their work environment and to give me a list of ten significant dates in their life but without disclosing what the dates represented. I then matched various items of clothing to their photos. How do we see ourselves? How do others see us? There is selective perception from both perspectives and a public and private presentation of the self.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : polaroid photos, Fresnel lenses, clothes, ikea frames
Collection virtuelle : Original CCCA
Fragments for a Story: Dear Doctor
Artist: Yvonne Singer
ID : 72355
Description: Exhibited at Workscene Gallery, Toronto.
Fragments for a Story is an installation investigating body-related anxieties such as those we experience at times of transition like puberty. Etched on two glass shelves facing each other on opposite walls of the gallery is a letter sent by an adolescent girl and boy to an advice column called, Dear Doctor. The girl is concerned about being seen as a slut because of her large breasts. The boy is worried about his voice breaking and hoping it is not a permanent condition.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : powdered plaster, glass shards, etched glass panels
Collection virtuelle : Original CCCA
Fragments for a Story
Artist: Yvonne Singer
ID : 72354
Description: Exhibited at Workscene Gallery, Toronto.
Fragments for a Story is an installation investigating body-related anxieties such as those we experience at times of transition like puberty. Etched on two glass shelves facing each other on opposite walls of the gallery is a letter sent by an adolescent girl and boy to an advice column called, Dear Doctor. The girl is concerned about being seen as a slut because of her large breasts. The boy is worried about his voice breaking and hoping it is not a permanent condition.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : 50lbs powdered plaster, glass shards, etched glass panel
Collection virtuelle : Original CCCA
Search for Definition, detail
Artist: Yvonne Singer
ID : 72371
Description: Exhibited at the Brock University Gallery, St. Catherines, Ontario.
I asked my colleagues and students to pose with their eyes closed in their work environment and to give me a list of ten significant dates in their life but without disclosing what the dates represented. I then matched various items of clothing to their photos. How do we see ourselves? How do others see us? There is selective perception from both perspectives and a public and private presentation of the self.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : polaroid photos, Fresnel lenses, clothes, ikea frames
Collection virtuelle : Original CCCA
Search for Definition, detail
Artist: Yvonne Singer
ID : 72370
Description: Exhibited at the Brock University Gallery, St. Catherines, Ontario.
I asked my colleagues and students to pose with their eyes closed in their work environment and to give me a list of ten significant dates in their life but without disclosing what the dates represented. I then matched various items of clothing to their photos. How do we see ourselves? How do others see us? There is selective perception from both perspectives and a public and private presentation of the self.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : polaroid photos, Fresnel lenses, clothes, ikea frames
Collection virtuelle : Original CCCA
Search for Definition, detail
Artist: Yvonne Singer
ID : 72372
Description: Exhibited at the Brock University Gallery, St. Catherines, Ontario.
I asked my colleagues and students to pose with their eyes closed in their work environment and to give me a list of ten significant dates in their life but without disclosing what the dates represented. I then matched various items of clothing to their photos. How do we see ourselves? How do others see us? There is selective perception from both perspectives and a public and private presentation of the self.
Des mesures : variable
Collection:
Date de réalisation : 1991
Matériaux : polaroid photos, Fresnel lenses, clothes, ikea frames
Collection virtuelle : Original CCCA
Measure of the Man, detail
Artist: Yvonne Singer
ID : 71514
Description: Workscene Gallery, Toronto. Photo: Isaac Applebaum.
Measure of the Man seeks to interrogate the representation of masculine authority.
The elements of the installation are: a steel pattern for a jacket inscribed with the words
'cogito ergo sum' ( I think therefore I am), a table of proportionate measurements for height and circumference used by tailors to construct suits for men, a steel frame to hold jackets called a 'silent butler' which supports a man's suit jacket and a single loafer.
Taken together, these elements suggest a man of rational thought, a certain rigidity of habit and manner, a distant, intimidating figure; a stereotype of banker, perhaps. These fragments deconstruct this image of a man to take his measure, only to find him wanting.
Des mesures : 137.16 x 121.92 cm
Collection:
Date de réalisation : 1992
Matériaux : cast marble: shoe size 13
Collection virtuelle : Original CCCA
Measure of the Man, detail
Artist: Yvonne Singer
ID : 71516
Description: Workscene Gallery, Toronto. Photo: Isaac Applebaum.
Measure of the Man seeks to interrogate the representation of masculine authority.
The elements of the installation are: a steel pattern for a jacket inscribed with the words
'cogito ergo sum' ( I think therefore I am), a table of proportionate measurements for height and circumference used by tailors to construct suits for men, a steel frame to hold jackets called a 'silent butler' which supports a man's suit jacket and a single loafer.
Taken together, these elements suggest a man of rational thought, a certain rigidity of habit and manner, a distant, intimidating figure; a stereotype of banker, perhaps. These fragments deconstruct this image of a man to take his measure, only to find him wanting.
Des mesures : 45.72 x 60.96 cm
Collection:
Date de réalisation : 1992
Matériaux : aluminium
Collection virtuelle : Original CCCA
Measure of the Man, detail
Artist: Yvonne Singer
ID : 71515
Description: Workscene Gallery, Toronto. Photo: Isaac Applebaum.
Measure of the Man seeks to interrogate the representation of masculine authority.
The elements of the installation are: a steel pattern for a jacket inscribed with the words
'cogito ergo sum' ( I think therefore I am), a table of proportionate measurements for height and circumference used by tailors to construct suits for men, a steel frame to hold jackets called a 'silent butler' which supports a man's suit jacket and a single loafer.
Taken together, these elements suggest a man of rational thought, a certain rigidity of habit and manner, a distant, intimidating figure; a stereotype of banker, perhaps. These fragments deconstruct this image of a man to take his measure, only to find him wanting.
Des mesures : 53.34 x 55.88 cm
Collection:
Date de réalisation : 1992
Matériaux : sandblasted steel pattern piece
Collection virtuelle : Original CCCA
Measure of the Man
Artist: Yvonne Singer
ID : 71512
Description: Workscene Gallery, Toronto. Photo: Isaac Applebaum.
Measure of the Man seeks to interrogate the representation of masculine authority.
The elements of the installation are: a steel pattern for a jacket inscribed with the words
'cogito ergo sum' ( I think therefore I am), a table of proportionate measurements for height and circumference used by tailors to construct suits for men, a steel frame to hold jackets called a 'silent butler' which supports a man's suit jacket and a single loafer.
Taken together, these elements suggest a man of rational thought, a certain rigidity of habit and manner, a distant, intimidating figure; a stereotype of banker, perhaps. These fragments deconstruct this image of a man to take his measure, only to find him wanting.
Des mesures : 137.16 x 121.92 cm
Collection:
Date de réalisation : 1992
Matériaux : steel, cast marble, aluminium
Collection virtuelle : Original CCCA
Measure of the Man, detail
Artist: Yvonne Singer
ID : 71513
Description: Workscene Gallery, Toronto. Photo: Isaac Applebaum.
Measure of the Man seeks to interrogate the representation of masculine authority.
The elements of the installation are: a steel pattern for a jacket inscribed with the words
'cogito ergo sum' ( I think therefore I am), a table of proportionate measurements for height and circumference used by tailors to construct suits for men, a steel frame to hold jackets called a 'silent butler' which supports a man's suit jacket and a single loafer.
Taken together, these elements suggest a man of rational thought, a certain rigidity of habit and manner, a distant, intimidating figure; a stereotype of banker, perhaps. These fragments deconstruct this image of a man to take his measure, only to find him wanting.
Des mesures : 137.16 x 121.92 cm
Collection:
Date de réalisation : 1992
Matériaux : steel, cast marble, aluminium
Collection virtuelle : Original CCCA
![In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room, detail]](https://ccca.art/wp-content/uploads/2024/04/singery060.jpg)
In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room, detail]
Artist: Yvonne Singer
ID : 71510
Description: Koffler Gallery, Toronto. Photo: Isaac Applebaum.
In Memoriam: Forgetting and Remembering Fragments of History is an installation in two parts; The Felt Room and The Glass Room. It is concerned with memory, history and identity and challenges objective history.
The Felt Room is a 7 x 7 x 7 ft. square steel and felt enclosure, attached to the ceiling with steel cables. The entrance to the room leads to an interior space, empty except for an LED board that scrolls a text composed of fragments of newspaper reports and private thoughts. The text refers to Swedish diplomat, Raoul Wallenbergás heroic deeds during the Holocaust in Budapest, Hungary.
In The Glass Room light from above shines on words etched on glass shelves casting shadows on the wall below. One text contains a fantasy about solitary confinement and survival. Another wall of shelves etched with single words are a shadow collage of adverbs, verbs, pronouns, such as Where? Why? Can't Understand.
Des mesures : 30.48 x 48.26 cm
Collection:
Date de réalisation : 1993
Matériaux : etched glass shelf
Collection virtuelle : Original CCCA
![In Memoriam: Forgetting and Remembering Fragments of History [the Felt Room: detail]](https://ccca.art/wp-content/uploads/2024/04/singery059.jpg)
In Memoriam: Forgetting and Remembering Fragments of History [the Felt Room: detail]
Artist: Yvonne Singer
ID : 71508
Description: Koffler Gallery, Toronto. Photo: Isaac Applebaum.
In Memoriam: Forgetting and Remembering Fragments of History is an installation in two parts; The Felt Room and The Glass Room. It is concerned with memory, history and identity and challenges objective history.
The Felt Room is a 7 x 7 x 7 ft. square steel and felt enclosure, attached to the ceiling with steel cables. The entrance to the room leads to an interior space, empty except for an LED board that scrolls a text composed of fragments of newspaper reports and private thoughts. The text refers to Swedish diplomat, Raoul Wallenbergás heroic deeds during the Holocaust in Budapest, Hungary.
In The Glass Room light from above shines on words etched on glass shelves casting shadows on the wall below. One text contains a fantasy about solitary confinement and survival. Another wall of shelves etched with single words are a shadow collage of adverbs, verbs, pronouns, such as Where? Why? Can't Understand.
Des mesures : 12.7 x 76.2 cm
Collection:
Date de réalisation : 1993
Matériaux : LED board
Collection virtuelle : Original CCCA
![In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room, detail]](https://ccca.art/wp-content/uploads/2024/04/singery061.jpg)
In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room, detail]
Artist: Yvonne Singer
ID : 71511
Description: Koffler Gallery, Toronto. Photo: Isaac Applebaum.
In Memoriam: Forgetting and Remembering Fragments of History is an installation in two parts; The Felt Room and The Glass Room. It is concerned with memory, history and identity and challenges objective history.
The Felt Room is a 7 x 7 x 7 ft. square steel and felt enclosure, attached to the ceiling with steel cables. The entrance to the room leads to an interior space, empty except for an LED board that scrolls a text composed of fragments of newspaper reports and private thoughts. The text refers to Swedish diplomat, Raoul Wallenbergás heroic deeds during the Holocaust in Budapest, Hungary.
In The Glass Room light from above shines on words etched on glass shelves casting shadows on the wall below. One text contains a fantasy about solitary confinement and survival. Another wall of shelves etched with single words are a shadow collage of adverbs, verbs, pronouns, such as Where? Why? Can't Understand.
Des mesures : 35.56 x 91.44 cm
Collection:
Date de réalisation : 1993
Matériaux : etched glass shelf
Collection virtuelle : Original CCCA
![In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room]](https://ccca.art/wp-content/uploads/2024/04/singery058.jpg)
In Memoriam: Forgetting and Remembering Fragments of History [the Glass Room]
Artist: Yvonne Singer
ID : 71509
Description: Koffler Gallery, Toronto. Photo: Isaac Applebaum.
In Memoriam: Forgetting and Remembering Fragments of History is an installation in two parts; The Felt Room and The Glass Room. It is concerned with memory, history and identity and challenges objective history.
The Felt Room is a 7 x 7 x 7 ft. square steel and felt enclosure, attached to the ceiling with steel cables. The entrance to the room leads to an interior space, empty except for an LED board that scrolls a text composed of fragments of newspaper reports and private thoughts. The text refers to Swedish diplomat, Raoul Wallenbergás heroic deeds during the Holocaust in Budapest, Hungary.
In The Glass Room light from above shines on words etched on glass shelves casting shadows on the wall below. One text contains a fantasy about solitary confinement and survival. Another wall of shelves etched with single words are a shadow collage of adverbs, verbs, pronouns, such as Where? Why? Can't Understand.
Des mesures : 35.56 x 91.44 cm
Collection:
Date de réalisation : 1993
Matériaux : 15 etched glas shelves
Collection virtuelle : Original CCCA
![In Memoriam: Forgetting and Remembering Fragments of History [the Felt Room]](https://ccca.art/wp-content/uploads/2024/04/singery057.jpg)
In Memoriam: Forgetting and Remembering Fragments of History [the Felt Room]
Artist: Yvonne Singer
ID : 71507
Description: Koffler Gallery, Toronto. Photo: Isaac Applebaum.
In Memoriam: Forgetting and Remembering Fragments of History is an installation in two parts; The Felt Room and The Glass Room. It is concerned with memory, history and identity and challenges objective history.
The Felt Room is a 7 x 7 x 7 ft. square steel and felt enclosure, attached to the ceiling with steel cables. The entrance to the room leads to an interior space, empty except for an LED board that scrolls a text composed of fragments of newspaper reports and private thoughts. The text refers to Swedish diplomat, Raoul Wallenbergás heroic deeds during the Holocaust in Budapest, Hungary.
In The Glass Room light from above shines on words etched on glass shelves casting shadows on the wall below. One text contains a fantasy about solitary confinement and survival. Another wall of shelves etched with single words are a shadow collage of adverbs, verbs, pronouns, such as Where? Why? Can't Understand.
Des mesures : 0.2436 x 0.2436 x 0.348 m
Collection:
Date de réalisation : 1993
Matériaux : felt, steel
Collection virtuelle : Original CCCA
A Portable Viewing Station for Anxious Travellers
Artist: Yvonne Singer
ID : 71505
Description: Villefranca di Verona, Italy; George Brown House, Harbourfront Gallery, Toronto.
A Portable Viewing Station for Anxious Travellers consists of an open-sided booth on wheels, with two rear-view mirrors, fastened to the side of the structure and a fresnal lens, attached to the front. The viewer can stand on the viewing station to determine from the rear-view mirrors where they are coming from and look through the fresnel lens to see where they are going to. The travel case attached to the front of the viewing station contains a selection of postcards from all over the world as well as a compass etched on the mirror in the suitcase. The structure is a metaphor for dislocation and exile and a commentary on our attempts to situate ourselves by looking reflectively to the past and longingly or anxiously to the future.
Des mesures : 55.88 x 55.88 x 198.12 cm
Collection:
Date de réalisation : 1994
Matériaux : aluminium, fresnel lens, suitcase, postcards, rubber wheels, mirror
Collection virtuelle : Original CCCA
A Portable Viewing Station for Anxious Travellers, detail
Artist: Yvonne Singer
ID : 71506
Description: Villefranca di Verona, Italy; George Brown House, Harbourfront Gallery, Toronto.
A Portable Viewing Station for Anxious Travellers consists of an open-sided booth on wheels, with two rear-view mirrors, fastened to the side of the structure and a fresnal lens, attached to the front. The viewer can stand on the viewing station to determine from the rear-view mirrors where they are coming from and look through the fresnel lens to see where they are going to. The travel case attached to the front of the viewing station contains a selection of postcards from all over the world as well as a compass etched on the mirror in the suitcase. The structure is a metaphor for dislocation and exile and a commentary on our attempts to situate ourselves by looking reflectively to the past and longingly or anxiously to the future.
Des mesures : mirrors: 21.59 cm
Collection:
Date de réalisation : 1994
Matériaux : aluminium, fresnel lens, suitcase, postcards, rubber wheels, mirror
Collection virtuelle : Original CCCA
Projectiions for the Unseeing
Artist: Yvonne Singer
ID : 72378
Description: Exhibited at Red Head Gallery, Toronto, and galerie l'expression, St. Hyacinthe, Quebec.
Through the cinematic projection of the moving images and the juxtaposition of the mechanical eyes or 'visual aids', the installation plays with the psychological idea of projection which shape our memory and subjectivity through language and vision.. The viewer is placed in different sites for seeing and being seen; from the invisible gaze of the cinematographer to the mediated gaze of the mechanical eyes to the blind gaze of the children on the film loop. Projections for the unseeing proposed the instability of identity and subjectivity and the fragility of memory.
Text which appears on the glasses:
"I could never co-ordinate my arms with my breathing so I would take a deep breath and swim the length of the pool non-stop this left me breathless"
"Dans la chamber de ma grandmère se trouve ma poupée Barbara Ann Scott qui a perdu sa tête. Je ne pouvais point entrer dans cette pièce"
Des mesures : glasses: 25.4 cm diameter
Collection:
Date de réalisation : 1997
Matériaux : steel, glass, 16mm film loop, motors
Collection virtuelle : Original CCCA
Projectiions for the Unseeing
Artist: Yvonne Singer
ID : 72377
Description: Exhibited at Red Head Gallery, Toronto, and galerie l'expression, St. Hyacinthe, Quebec.
Through the cinematic projection of the moving images and the juxtaposition of the mechanical eyes or 'visual aids', the installation plays with the psychological idea of projection which shape our memory and subjectivity through language and vision.. The viewer is placed in different sites for seeing and being seen; from the invisible gaze of the cinematographer to the mediated gaze of the mechanical eyes to the blind gaze of the children on the film loop. Projections for the unseeing proposed the instability of identity and subjectivity and the fragility of memory.
Text which appears on the glasses:
"I could never co-ordinate my arms with my breathing so I would take a deep breath and swim the length of the pool non-stop this left me breathless"
"Dans la chamber de ma grandmère se trouve ma poupée Barbara Ann Scott qui a perdu sa tête. Je ne pouvais point entrer dans cette pièce"
Des mesures : glasses: 25.4 cm diameter
Collection:
Date de réalisation : 1997
Matériaux : steel, glass, 16mm film loop, motors
Collection virtuelle : Original CCCA
Projectiions for the Unseeing
Artist: Yvonne Singer
ID : 72374
Description: Exhibited at Red Head Gallery, Toronto, and galerie l'expression, St. Hyacinthe, Quebec.
Through the cinematic projection of the moving images and the juxtaposition of the mechanical eyes or 'visual aids', the installation plays with the psychological idea of projection which shape our memory and subjectivity through language and vision.. The viewer is placed in different sites for seeing and being seen; from the invisible gaze of the cinematographer to the mediated gaze of the mechanical eyes to the blind gaze of the children on the film loop. Projections for the unseeing proposed the instability of identity and subjectivity and the fragility of memory.
Text which appears on the glasses:
"I could never co-ordinate my arms with my breathing so I would take a deep breath and swim the length of the pool non-stop this left me breathless"
"Dans la chamber de ma grandmère se trouve ma poupée Barbara Ann Scott qui a perdu sa tête. Je ne pouvais point entrer dans cette pièce"
Des mesures : glasses: 25.4 cm diameter
Collection:
Date de réalisation : 1997
Matériaux : steel, glass, 16mm film loop, motors
Collection virtuelle : Original CCCA
Projectiions for the Unseeing
Artist: Yvonne Singer
ID : 72375
Description: Exhibited at Red Head Gallery, Toronto, and galerie l'expression, St. Hyacinthe, Quebec.
Through the cinematic projection of the moving images and the juxtaposition of the mechanical eyes or 'visual aids', the installation plays with the psychological idea of projection which shape our memory and subjectivity through language and vision.. The viewer is placed in different sites for seeing and being seen; from the invisible gaze of the cinematographer to the mediated gaze of the mechanical eyes to the blind gaze of the children on the film loop. Projections for the unseeing proposed the instability of identity and subjectivity and the fragility of memory.
Text which appears on the glasses:
"I could never co-ordinate my arms with my breathing so I would take a deep breath and swim the length of the pool non-stop this left me breathless"
"Dans la chamber de ma grandmère se trouve ma poupée Barbara Ann Scott qui a perdu sa tête. Je ne pouvais point entrer dans cette pièce"
Des mesures : glasses: 25.4 cm diameter
Collection:
Date de réalisation : 1997
Matériaux : steel, glass, 16mm film loop, motors
Collection virtuelle : Original CCCA
Projectiions for the Unseeing
Artist: Yvonne Singer
ID : 72376
Description: Exhibited at Red Head Gallery, Toronto, and galerie l'expression, St. Hyacinthe, Quebec.
Through the cinematic projection of the moving images and the juxtaposition of the mechanical eyes or 'visual aids', the installation plays with the psychological idea of projection which shape our memory and subjectivity through language and vision.. The viewer is placed in different sites for seeing and being seen; from the invisible gaze of the cinematographer to the mediated gaze of the mechanical eyes to the blind gaze of the children on the film loop. Projections for the unseeing proposed the instability of identity and subjectivity and the fragility of memory.
Text which appears on the glasses:
"I could never co-ordinate my arms with my breathing so I would take a deep breath and swim the length of the pool non-stop this left me breathless"
"Dans la chamber de ma grandmère se trouve ma poupée Barbara Ann Scott qui a perdu sa tête. Je ne pouvais point entrer dans cette pièce"
Des mesures : glasses: 25.4 cm diameter
Collection:
Date de réalisation : 1997
Matériaux : steel, glass, 16mm film loop, motors
Collection virtuelle : Original CCCA
The Veiled Room
Artist: Yvonne Singer
ID : 71537
Description: The Veiled Room, a site-responsive installation, exhibited at the ACC Gallery in Weimar, Germany, in 1998, and The Red Head Gallery, Toronto,(2003) examines the work of inheritance and the burden of history, probing the relationships that exist between moments of personal significance and events of global significance that impact us all. The legacy of the Weimar Republic is the central trope in this work. The short-lived Weimar Republic existed during a time of great intellectual ferment and creative activity. It was the rise of Hitler that marked the end of this period.
Photo: Isaac Applebaum.
Des mesures : variable
Collection:
Date de réalisation : 1998
Matériaux : steel cable, polyester sheer fabric, tv monitor, video
Collection virtuelle : Original CCCA
The Veiled Room
Artist: Yvonne Singer
ID : 71534
Description: The Veiled Room, a site-responsive installation, exhibited at the ACC Gallery in Weimar, Germany, in 1998, and The Red Head Gallery, Toronto,(2003) examines the work of inheritance and the burden of history, probing the relationships that exist between moments of personal significance and events of global significance that impact us all. The legacy of the Weimar Republic is the central trope in this work. The short-lived Weimar Republic existed during a time of great intellectual ferment and creative activity. It was the rise of Hitler that marked the end of this period.
Des mesures : variable
Collection:
Date de réalisation : 1998
Matériaux : steel cable, polyester sheer fabric, tv monitor, video
Collection virtuelle : Original CCCA
I am’, & ‘I should have, I could have, I would have… …if only’, installation view
Artist: Yvonne Singer
ID : 71533
Description: Curator ,Linda Book, Lonsdale Gallery, Toronto.
2003, Alphabets group exhibition. Curator, Joyce Millar, Stewart Hall, Montreal.
I should have, I could have, I would have... ...if only is a flashing, handwritten series of phrases translated into neon and wall mounted. The phrases express longing and regret. I should have, I could have, I would have are positioned on the wall, one below another, recalling lines like 'I must not...' repeated and handwritten on a classroom blackboard. The three phrases flash sequentially referencing commercial signage with its insistent messaging. The 'if only' phrase does not flash and functions as a kind of leitmotif or musical chorus. The viewer reads the phrases, becomes the 'I' and is offered the possibility of completing the phrases. The act of reading implicates the viewer in the situation of longing and regret thereby provoking associations to their individual experiences.
These phrases are very familiar to us as is the experience of regret. The words reference regret and longing for unfulfilled private desires as well as a response to social expectations. By voicing these words, the viewer is situated in both a social and private context.
Des mesures : 152.4 x 15.24 x 3/4 cm
Collection:
Date de réalisation : 1998
Matériaux : glass, flashing neon
Collection virtuelle : Original CCCA
I am… , detail
Artist: Yvonne Singer
ID : 71529
Description: I am... is a single capital letter 'I' cutout in ¾" glass. It measures 5'6" in height and leans against the wall. The surface is covered with text that is an alphabetical listing of adjectives such as depressed, happy, anxious, describing states of being. Reading the text, "I am...", the viewer becomes the 'I', identifying themselves with the different emotions they read, searching for the work that describes them or associating characteristics to people they know.
'I am...' is an investigation of subjectivity. Standing in front of the glass 'I' and reading the text becomes a self- reflective action that suggests how we see ourselves and others.
Des mesures : 152.4 x 15.24 x 3/4 cm
Collection:
Date de réalisation : 1998
Matériaux : glass, flashing neon
Collection virtuelle : Original CCCA
The Veiled Room
Artist: Yvonne Singer
ID : 71536
Description: The Veiled Room, a site-responsive installation, exhibited at the ACC Gallery in Weimar, Germany, in 1998, and The Red Head Gallery, Toronto,(2003) examines the work of inheritance and the burden of history, probing the relationships that exist between moments of personal significance and events of global significance that impact us all. The legacy of the Weimar Republic is the central trope in this work. The short-lived Weimar Republic existed during a time of great intellectual ferment and creative activity. It was the rise of Hitler that marked the end of this period.
Photo: Isaac Applebaum.
Des mesures : variable
Collection:
Date de réalisation : 1998
Matériaux : steel cable, polyester sheer fabric, tv monitor, video
Collection virtuelle : Original CCCA
The Veiled Room
Artist: Yvonne Singer
ID : 71535
Description: The Veiled Room, a site-responsive installation, exhibited at the ACC Gallery in Weimar, Germany, in 1998, and The Red Head Gallery, Toronto,(2003) examines the work of inheritance and the burden of history, probing the relationships that exist between moments of personal significance and events of global significance that impact us all. The legacy of the Weimar Republic is the central trope in this work. The short-lived Weimar Republic existed during a time of great intellectual ferment and creative activity. It was the rise of Hitler that marked the end of this period.
Photo: Isaac Applebaum.
Des mesures : variable
Collection:
Date de réalisation : 1998
Matériaux : steel cable, polyester sheer fabric, tv monitor, video
Collection virtuelle : Original CCCA
I should have, I could have, I would have… …if only
Artist: Yvonne Singer
ID : 71530
Description: Curator ,Linda Book, Lonsdale Gallery, Toronto.
2003, Alphabets group exhibition. Curator, Joyce Millar, Stewart Hall, Montreal.
I should have, I could have, I would have... ...if only is a flashing, handwritten series of phrases translated into neon and wall mounted. The phrases express longing and regret. I should have, I could have, I would have are positioned on the wall, one below another, recalling lines like 'I must not...' repeated and handwritten on a classroom blackboard. The three phrases flash sequentially referencing commercial signage with its insistent messaging. The 'if only' phrase does not flash and functions as a kind of leitmotif or musical chorus. The viewer reads the phrases, becomes the 'I' and is offered the possibility of completing the phrases. The act of reading implicates the viewer in the situation of longing and regret thereby provoking associations to their individual experiences.
These phrases are very familiar to us as is the experience of regret. The words reference regret and longing for unfulfilled private desires as well as a response to social expectations. By voicing these words, the viewer is situated in both a social and private context.
Des mesures : 152.4 x 15.24 x 3/4 cm
Collection:
Date de réalisation : 1998
Matériaux : glass, flashing neon
Collection virtuelle : Original CCCA
I am…
Artist: Yvonne Singer
ID : 71528
Description: I am... is a single capital letter 'I' cutout in ¾" glass. It measures 5'6" in height and leans against the wall. The surface is covered with text that is an alphabetical listing of adjectives such as depressed, happy, anxious, describing states of being. Reading the text, "I am...", the viewer becomes the 'I', identifying themselves with the different emotions they read, searching for the work that describes them or associating characteristics to people they know.
'I am...' is an investigation of subjectivity. Standing in front of the glass 'I' and reading the text becomes a self- reflective action that suggests how we see ourselves and others.
Des mesures : 152.4 x 15.24 x 3/4 cm
Collection:
Date de réalisation : 1998
Matériaux : glass, flashing neon
Collection virtuelle : Original CCCA
I should have, I could have, I would have… …if only
Artist: Yvonne Singer
ID : 71531
Description: Curator ,Linda Book, Lonsdale Gallery, Toronto.
2003, Alphabets group exhibition. Curator, Joyce Millar, Stewart Hall, Montreal.
I should have, I could have, I would have... ...if only is a flashing, handwritten series of phrases translated into neon and wall mounted. The phrases express longing and regret. I should have, I could have, I would have are positioned on the wall, one below another, recalling lines like 'I must not...' repeated and handwritten on a classroom blackboard. The three phrases flash sequentially referencing commercial signage with its insistent messaging. The 'if only' phrase does not flash and functions as a kind of leitmotif or musical chorus. The viewer reads the phrases, becomes the 'I' and is offered the possibility of completing the phrases. The act of reading implicates the viewer in the situation of longing and regret thereby provoking associations to their individual experiences.
These phrases are very familiar to us as is the experience of regret. The words reference regret and longing for unfulfilled private desires as well as a response to social expectations. By voicing these words, the viewer is situated in both a social and private context.
Des mesures : 152.4 x 15.24 x 3/4 cm
Collection:
Date de réalisation : 1998
Matériaux : glass, flashing neon
Collection virtuelle : Original CCCA
Staging Memory, detail
Artist: Yvonne Singer
ID : 71527
Description: Group exhibition, Montreal Holocaust Centre, Montreal, Quebec. Curator: Dr. Loren Lerner.
Le Staging Memory exhibition at the Montreal Holocaust Centre, consists of a wooden platform with 3 wood and glass display cases containing an aquarium with a single goldfish, slides with selected images of a wedding and a video of a newborn sleeping baby. The fish is alive and speaks of the present; the wedding slides are about the past and the sleeping baby is the future. In order to properly see the contents of the cases, the viewer must step onto the platform. In this way, the viewer is implicated as witness to the staging of these past and present moments in time. We stage our memories through photos and videos, marking significant or banal moments in our lives and becoming actors in our own reality television series.
Des mesures :
Collection:
Date de réalisation : 2000
Matériaux : video monitor
Collection virtuelle : Original CCCA
Staging Memory, detail
Artist: Yvonne Singer
ID : 71522
Description: Group exhibition, Montreal Holocaust Centre, Montreal, Quebec. Curator: Dr. Loren Lerner.
Le Staging Memory exhibition at the Montreal Holocaust Centre, consists of a wooden platform with 3 wood and glass display cases containing an aquarium with a single goldfish, slides with selected images of a wedding and a video of a newborn sleeping baby. The fish is alive and speaks of the present; the wedding slides are about the past and the sleeping baby is the future. In order to properly see the contents of the cases, the viewer must step onto the platform. In this way, the viewer is implicated as witness to the staging of these past and present moments in time. We stage our memories through photos and videos, marking significant or banal moments in our lives and becoming actors in our own reality television series.
Des mesures : 106.68 x 60.96 x 35.56 cm
Collection:
Date de réalisation : 2000
Matériaux : wood, plexi, video monitor
Collection virtuelle : Original CCCA
Staging Memory, detail
Artist: Yvonne Singer
ID : 71521
Description: Group exhibition, Montreal Holocaust Centre, Montreal, Quebec. Curator: Dr. Loren Lerner.
Le Staging Memory exhibition at the Montreal Holocaust Centre, consists of a wooden platform with 3 wood and glass display cases containing an aquarium with a single goldfish, slides with selected images of a wedding and a video of a newborn sleeping baby. The fish is alive and speaks of the present; the wedding slides are about the past and the sleeping baby is the future. In order to properly see the contents of the cases, the viewer must step onto the platform. In this way, the viewer is implicated as witness to the staging of these past and present moments in time. We stage our memories through photos and videos, marking significant or banal moments in our lives and becoming actors in our own reality television series.
Des mesures : 106.68 x 60.96 x 35.56 cm
Collection:
Date de réalisation : 2000
Matériaux : wood, plexi, slides
Collection virtuelle : Original CCCA
Staging Memory
Artist: Yvonne Singer
ID : 71519
Description: Group exhibition, Montreal Holocaust Centre, Montreal, Quebec. Curator: Dr. Loren Lerner.
Le Staging Memory exhibition at the Montreal Holocaust Centre, consists of a wooden platform with 3 wood and glass display cases containing an aquarium with a single goldfish, slides with selected images of a wedding and a video of a newborn sleeping baby. The fish is alive and speaks of the present; the wedding slides are about the past and the sleeping baby is the future. In order to properly see the contents of the cases, the viewer must step onto the platform. In this way, the viewer is implicated as witness to the staging of these past and present moments in time. We stage our memories through photos and videos, marking significant or banal moments in our lives and becoming actors in our own reality television series.
Des mesures : 106.68 x 60.96 x 35.56 cm
Collection:
Date de réalisation : 2000
Matériaux : wooden platform, 3 wood and glass display cases, aquarium, goldfish, slides, video
Collection virtuelle : Original CCCA
Staging Memory, detail
Artist: Yvonne Singer
ID : 71520
Description: Group exhibition, Montreal Holocaust Centre, Montreal, Quebec. Curator: Dr. Loren Lerner.
Le Staging Memory exhibition at the Montreal Holocaust Centre, consists of a wooden platform with 3 wood and glass display cases containing an aquarium with a single goldfish, slides with selected images of a wedding and a video of a newborn sleeping baby. The fish is alive and speaks of the present; the wedding slides are about the past and the sleeping baby is the future. In order to properly see the contents of the cases, the viewer must step onto the platform. In this way, the viewer is implicated as witness to the staging of these past and present moments in time. We stage our memories through photos and videos, marking significant or banal moments in our lives and becoming actors in our own reality television series.
Des mesures : 106.68 x 60.96 x 35.56 cm
Collection:
Date de réalisation : 2000
Matériaux : wood, mirror, water, video, slides
Collection virtuelle : Original CCCA
…between two points, detail
Artist: Yvonne Singer
ID : 71526
Description: Part of Crossword, Broadview Collective group exhibition, The Visual Arts Centre of Clarington, Bowmanville, ON, April 1-May 13, 2001.
Curator: Margaret Rogers.
...between two points, 2001, consists of a hollowed-out tree trunk filled with 3 television monitors that play the same video loop of a highway (the highway between Montreal and Toronto which passes by Clarington), the waterway (referencing the St. Lawrence River) and the railway (videotaped on the go-train between Toronto and Oshawa). The monitor, the tape deck and wires are contained within a familiar metal shopping cart. The title refers to the truism, 'a straight line is the shortest distance between two points' as well as to the geographic location and the socio- economic impact of Toronto, a sprawling urban centre on the bedroom community of Clarington.
Des mesures : variable: approx. 182.88 x 91.44 cm
Collection:
Date de réalisation : 2001
Matériaux : TV monitors. cables, shopping cart
Collection virtuelle : Original CCCA
…between two points
Artist: Yvonne Singer
ID : 71524
Description: Part of Crossword, Broadview Collective group exhibition, The Visual Arts Centre of Clarington, Bowmanville, ON, April 1-May 13, 2001.
Curator: Margaret Rogers.
...between two points, 2001, consists of a hollowed-out tree trunk filled with 3 television monitors that play the same video loop of a highway (the highway between Montreal and Toronto which passes by Clarington), the waterway (referencing the St. Lawrence River) and the railway (videotaped on the go-train between Toronto and Oshawa). The monitor, the tape deck and wires are contained within a familiar metal shopping cart. The title refers to the truism, 'a straight line is the shortest distance between two points' as well as to the geographic location and the socio- economic impact of Toronto, a sprawling urban centre on the bedroom community of Clarington.
Des mesures : variable: approx. 182.88 x 91.44 cm
Collection:
Date de réalisation : 2001
Matériaux : TV monitors. cables, shopping cart
Collection virtuelle : Original CCCA
…between two points, detail
Artist: Yvonne Singer
ID : 71525
Description: Part of Crossword, Broadview Collective group exhibition, The Visual Arts Centre of Clarington, Bowmanville, ON, April 1-May 13, 2001.
Curator: Margaret Rogers.
...between two points, 2001, consists of a hollowed-out tree trunk filled with 3 television monitors that play the same video loop of a highway (the highway between Montreal and Toronto which passes by Clarington), the waterway (referencing the St. Lawrence River) and the railway (videotaped on the go-train between Toronto and Oshawa). The monitor, the tape deck and wires are contained within a familiar metal shopping cart. The title refers to the truism, 'a straight line is the shortest distance between two points' as well as to the geographic location and the socio- economic impact of Toronto, a sprawling urban centre on the bedroom community of Clarington.
Des mesures : variable: approx. 182.88 x 91.44 cm
Collection:
Date de réalisation : 2001
Matériaux : TV monitors. cables, shopping cart
Collection virtuelle : Original CCCA
Family Album
Artist: Yvonne Singer
ID : 71539
Description: Drawing from both the banality of everyday life and an artistic practice, Family Album is a video installation that physically encompasses the gallery space. Through random visual sequences, Family Album, is an impressionistic representation of the 'residue' of experiences and 'stuff' of our lives.
A family album, as an object, charts one facet of our reality; in short, those events of celebration or remembrance. Family Album, as an exhibition, poses a paradox between the fictional space of video and a physical space of the body. Here, the viewer is confronted with a shifting perceptual experience of typically real experiences ¿ of family dinners, holidays, conversations. Coupled with the structure of a cyclorama, the video begins to question this so-called notion of reality. The installation becomes an optical illusion both through narrative content and actual experience, creating a space where it is difficult to determine what is tangible.
Family Album is a disorientation. Through being some place and no place at the same time, the work contemplates the instability of reality.
Photo: Isaac Applebaum.
Des mesures : 0.348 x 0.4872 x 0.348 m
Collection:
Date de réalisation : 2002
Matériaux : DVD projection, cyclorama made of wood, masonite, paint
Collection virtuelle : Original CCCA
Family Album
Artist: Yvonne Singer
ID : 71538
Description: Drawing from both the banality of everyday life and an artistic practice, Family Album is a video installation that physically encompasses the gallery space. Through random visual sequences, Family Album, is an impressionistic representation of the 'residue' of experiences and 'stuff' of our lives.
A family album, as an object, charts one facet of our reality; in short, those events of celebration or remembrance. Family Album, as an exhibition, poses a paradox between the fictional space of video and a physical space of the body. Here, the viewer is confronted with a shifting perceptual experience of typically real experiences ¿ of family dinners, holidays, conversations. Coupled with the structure of a cyclorama, the video begins to question this so-called notion of reality. The installation becomes an optical illusion both through narrative content and actual experience, creating a space where it is difficult to determine what is tangible.
Family Album is a disorientation. Through being some place and no place at the same time, the work contemplates the instability of reality.
Photo: Isaac Applebaum.
Des mesures : 0.348 x 0.4872 x 0.348 m
Collection:
Date de réalisation : 2002
Matériaux : DVD projection, cyclorama made of wood, masonite, paint
Collection virtuelle : Original CCCA
Family Album
Artist: Yvonne Singer
ID : 72580
Description: Drawing from both the banality of everyday life and an artistic practice, Family Album is a video installation that physically encompasses the gallery space. Through random visual sequences, Family Album, is an impressionistic representation of the 'residue' of experiences and 'stuff' of our lives.
A family album, as an object, charts one facet of our reality; in short, those events of celebration or remembrance. Family Album, as an exhibition, poses a paradox between the fictional space of video and a physical space of the body. Here, the viewer is confronted with a shifting perceptual experience of typically real experiences á of family dinners, holidays, conversations. Coupled with the structure of a cyclorama, the video begins to question this so-called notion of reality. The installation becomes an optical illusion both through narrative content and actual experience, creating a space where it is difficult to determine what is tangible.
Family Album is a disorientation. Through being some place and no place at the same time, the work contemplates the instability of reality.
Photo: Isaac Applebaum.
Des mesures : 0.348 x 0.4872 x 0.348 m
Collection:
Date de réalisation : 2002
Matériaux : DVD projection, cyclorama made of wood, masonite, paint
Collection virtuelle : Original CCCA
you are on my mind
Artist: Yvonne Singer
ID : 72576
Description: Exhibited at Red Head Gallery, Toronto.
Des mesures : glass pedestal: 106.68 cm high
Collection:
Date de réalisation : 2003
Matériaux : video, bronze janus head, glass pedestal, video projection, 11" video monitor
Collection virtuelle : Original CCCA
you are on my mind
Artist: Yvonne Singer
ID : 72577
Description: Exhibited at Red Head Gallery, Toronto.
Des mesures : glass pedestal: 106.68 cm high
Collection:
Date de réalisation : 2003
Matériaux : video, bronze janus head, glass pedestal, video projection, 11" video monitor
Collection virtuelle : Original CCCA
you are on my mind
Artist: Yvonne Singer
ID : 72575
Description: Exhibited at Red Head Gallery, Toronto.
Des mesures : glass pedestal: 106.68 cm high
Collection:
Date de réalisation : 2003
Matériaux : video, bronze janus head, glass pedestal, video projection, 11" video monitor
Collection virtuelle : Original CCCA
Le stade du miroir
Artist: Yvonne Singer
ID : 71540
Description: The Red Head Gallery, Toronto, May 28-June 21, 2008. Photo: Isaac Applebaum.
Investigating how we acquire our sense of self, le stade du miroir (the mirror stage) derives its title from the psychoanalytic theory of Jacques Lacan. Through an installation of cast bronze objects and a video projection, the exhibition highlights the role of mirrors in how we imagine ourselves. When one looks into a mirror, what is experienced is not only a double, or a second self, but also the unacknowledged and perhaps unattainable aspects of oneself. The mirror cannot act as mere reflection but rather includes a projection of our own desires.
'you are on my mind' is an extension of 'le stade du miroir'. 'you are on my mind' is an echo of some now forgotten popular song and refers to the idea that in our minds, we carry around the presence of many people, whether they are family or friends or casual acquaintances. 'you are on my mind' focuses on a relationship between two people, who are together and apart at the same time suggesting that in the end we are all alone.
Des mesures : video projection
Collection:
Date de réalisation : 2003
Matériaux : bronze objects; video projection
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71432
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures :
Collection:
Date de réalisation : 2008
Matériaux : travel document, digital print
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71428
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures : 22.86 x 30.48 cm
Collection:
Date de réalisation : 2008
Matériaux : ballpoint, graph paper
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71422
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : visas, travel permits detail, digital prints
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71423
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : visas, travel permits detail, digital prints
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know , installation view
Artist: Yvonne Singer
ID : 71420
Description: Loop Gallery, Toronto. Photo: Thomas Blanchard.
Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : digital prints, glass, steel, handwritten charts and graphs
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71426
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures : 25.4 x 7.62 cm
Collection:
Date de réalisation : 2008
Matériaux : hip screws, glass, stainless steel
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71431
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures :
Collection:
Date de réalisation : 2008
Matériaux : travel document, digital print
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know , installation view
Artist: Yvonne Singer
ID : 71418
Description: Loop Gallery, Toronto. Photo: Thomas Blanchard.
Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : digital prints, glass, steel, handwritten charts and graphs
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71427
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures : 22.86 x 30.48 cm
Collection:
Date de réalisation : 2008
Matériaux : ballpoint, graph paper
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71421
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : visas, travel permits detail, digital prints
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know , installation view
Artist: Yvonne Singer
ID : 71417
Description: Loop Gallery, Toronto. Photo: Thomas Blanchard.
Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Des mesures : variable
Collection:
Date de réalisation : 2008
Matériaux : digital prints, glass, steel, handwritten charts and graphs
Collection virtuelle : Original CCCA
Signs of Life; an intimate portrait of someone I don’t know, detail
Artist: Yvonne Singer
ID : 71424
Description: Signs of Life; an intimate portrait of someone I don't know
Signs of Life; an intimate portrait of someone I don't know is an exhibition that investigates political and personal markers of identity through language, travel documents and personal artifacts. It asks the questions, `How do we really know someone, even those who are closest to us'? 'What clues are revealed about an identity by the material evidence left behind'? It is also about the consequences of geographic, psychological and physiological dislocation and alienation. By presenting travel documents from Occupied Europe in1945, juxtaposed with a handwritten, meticulous recording of medication, the installation posits a relationship between the intersection of personal and political history in constructing a portrait of an individual. The title, Signs of Life; an intimate portrait of someone I don't know refers to the traces we leave behind and challenges what is revealed by these artifacts. The elements of the installation demonstrate a tension between the private and the public or intimacy and distance.
Photo: Thomas Blanchard.
Des mesures :
Collection:
Date de réalisation : 2008
Matériaux :
Collection virtuelle : Original CCCA
sometimes I like a happy ending; sometimes I like a sad ending
Artist: Yvonne Singer
ID : 71455
Description: Exhibited at the Kiwi Sculpture Garden, Perth Ontario.
Curated by Mary Sue Rankin, Edward Day Gallery, Toronto.
sometimes I like a happy ending; sometimes I like a sad ending
Mirror, mirror on the wall, who's the fairest of them all?
She looked in the mirror and saw nothing.
She looked in the mirror again and saw a stranger.
How could that be?
Mirrors never lie, she was told.
"Oh, well," she thought, "I'll try again tomorrow".
Des mesures : convex mirror, steel, vinyl text
Collection:
Date de réalisation : 2009
Matériaux : convex mirror, steel, vinyl text
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72402
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72410
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72400
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
sometimes I like a happy ending; sometimes I like a sad ending
Artist: Yvonne Singer
ID : 71456
Description: Exhibited at the Kiwi Sculpture Garden, Perth Ontario.
Curated by Mary Sue Rankin, Edward Day Gallery, Toronto.
sometimes I like a happy ending; sometimes I like a sad ending
Mirror, mirror on the wall, who's the fairest of them all?
She looked in the mirror and saw nothing.
She looked in the mirror again and saw a stranger.
How could that be?
Mirrors never lie, she was told.
"Oh, well," she thought, "I'll try again tomorrow".
Des mesures : convex mirror, steel, vinyl text
Collection:
Date de réalisation : 2009
Matériaux : convex mirror, steel, vinyl text
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72412
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72393
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72401
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72398
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72389
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72391
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72416
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72397
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72407
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72399
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
random objects : random thoughts
Artist: Yvonne Singer
ID : 72387
Description: Exhibited at akau inc., Toronto.
Thoughts, images, words, objects; random objects, random thoughts are the fragments that create a disconnected narrative of associations, relationships, gestures ... like a poem. It references art history, past and present with a nod to Brancusi's Endless Column and the leap of faith required to make art. It is about traditional and contemporary making processes such as the digitally produced resin pieces, the plaster mould required to make bronze, the handmade needlepoint and the handmade doll. These processes are a metaphor for change, transitions, dislocations, girlhood, personal history and memory.
random objects, random thoughts is a small gesture made to extract understanding from an assemblage of seemingly disparate objects and images.
Des mesures : variable
Collection:
Date de réalisation : 2009
Matériaux : wood, resin, bronze, needlepoint, leather, fabric, plaster
Collection virtuelle : Original CCCA
Gone Missing: 1. and he told me about the bullet that just missed him; 2.so I looked at the photo for clues; 3. I think the secret is out
Artist: Yvonne Singer
ID : 73941
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures : /c/images/screen/s/singery/singery264.jpg
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing, installation detail
Artist: Yvonne Singer
ID : 73943
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures :
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing: Travelogue & Painting, installation view
Artist: Yvonne Singer
ID : 73945
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Basilica della Salute
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
Des mesures : 48.26 cm monitor, found painting of <i>Basilica della Salute</i>
Collection:
Date de réalisation : 2010
Matériaux : DVD (Travelogue of Paris, Venice, Berlin, London)
Collection virtuelle : Original CCCA
Gone Missing: Travelogue & Painting, screen view 3
Artist: Yvonne Singer
ID : 73948
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Basilica della Salute
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
Des mesures : 48.26 cm monitor, found painting of <i>Basilica della Salute</i>
Collection:
Date de réalisation : 2010
Matériaux : DVD (Travelogue of Paris, Venice, Berlin, London)
Collection virtuelle : Original CCCA
IIII wa wa wa WANT
Artist: Yvonne Singer
ID : 78109
Description: KWT Contemporary Gallery, Toronto, 2011.
Des mesures :
Collection:
Date de réalisation : 2010
Matériaux : flashing neon, acrylic
Collection virtuelle : Original CCCA
IIII wa wa wa WANT, close up
Artist: Yvonne Singer
ID : 74655
Description: I I I I wa wa wa WANT is a site-specific installation consisting of the words, "I want" in neon, and mounted on 2 opposite-facing mirrors.The self-reflecting mirrors will create the illusion of repeating the words to infinity as well as implicating the viewers reflected in the mirrors.
The Convenience Gallery storefront was the ideal location for this work. It is the intersection of the space of commerce and the private space of individual longing. The work speaks to our desires. Neon signs are familiar signifiers of commerce in an urban setting and the media advertising surrounding us promotes the economy of desire. Who doesn't want something? Who hasn't looked longingly at shop window?
Des mesures : 81.28 x 147.32 x 7.62 cm
Collection:
Date de réalisation : 2010
Matériaux : flashing neon, plexiglass, aluminium
Collection virtuelle : Original CCCA
Gone Missing: Travelogue & Painting, screen views 1,2, & 3
Artist: Yvonne Singer
ID : 73949
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Basilica della Salute
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
Des mesures : 48.26 cm monitor, found painting of <i>Basilica della Salute</i>
Collection:
Date de réalisation : 2010
Matériaux : DVD (Travelogue of Paris, Venice, Berlin, London)
Collection virtuelle : Original CCCA
Gone Missing: Travelogue & Painting, screen view 1
Artist: Yvonne Singer
ID : 73946
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Basilica della Salute
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
Des mesures : 48.26 cm monitor, found painting of <i>Basilica della Salute</i>
Collection:
Date de réalisation : 2010
Matériaux : DVD (Travelogue of Paris, Venice, Berlin, London)
Collection virtuelle : Original CCCA
Gone Missing, installation view
Artist: Yvonne Singer
ID : 73939
Description: Gone Missing is an installation consisting of 12 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
Through a series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggests narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artistás] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures :
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing, and she told me it was love at first sight
Artist: Yvonne Singer
ID : 73940
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures : 241.3 x 22.86 cm
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
IIII wa wa wa WANT
Artist: Yvonne Singer
ID : 78110
Description: KWT Contemporary Gallery, Toronto, 2011.
Des mesures :
Collection:
Date de réalisation : 2010
Matériaux : flashing neon, acrylic
Collection virtuelle : Original CCCA
IIII wa wa wa WANT, detail
Artist: Yvonne Singer
ID : 74654
Description: I I I I wa wa wa WANT is a site-specific installation consisting of the words, "I want" in neon, and mounted on 2 opposite-facing mirrors.The self-reflecting mirrors will create the illusion of repeating the words to infinity as well as implicating the viewers reflected in the mirrors.
The Convenience Gallery storefront was the ideal location for this work. It is the intersection of the space of commerce and the private space of individual longing. The work speaks to our desires. Neon signs are familiar signifiers of commerce in an urban setting and the media advertising surrounding us promotes the economy of desire. Who doesnát want something? Who hasnát looked longingly at shop window?
Des mesures : 81.28 x 147.32 x 7.62 cm
Collection:
Date de réalisation : 2010
Matériaux : flashing neon, plexiglass, aluminium
Collection virtuelle : Original CCCA
Gone Missing: Travelogue & Painting, screen view 2
Artist: Yvonne Singer
ID : 73947
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Basilica della Salute
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
Des mesures : 48.26 cm monitor, found painting of <i>Basilica della Salute</i>
Collection:
Date de réalisation : 2010
Matériaux : DVD (Travelogue of Paris, Venice, Berlin, London)
Collection virtuelle : Original CCCA
Gone Missing: I think the secret is out
Artist: Yvonne Singer
ID : 73944
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures : 182.88 x 22.86 cm
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing
Artist: Yvonne Singer
ID : 73937
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures : 76.2 x 22.86 cm
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing
Artist: Yvonne Singer
ID : 73938
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures : 76.2 x 22.86 cm
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
Gone Missing, installation detail
Artist: Yvonne Singer
ID : 73942
Description: Gone Missing is an installation consisting of 2 elements: a series of neon sentences and a video travelogue with images from Paris, Venice, Berlin and London.
A series of sentence fragments produced in neon, and the flashing images of travel, <Gone Missing suggest narratives of memory, loss and longing. The words produced in neon and the impressionistic wordless images of travel express the ephemeral and fragmented nature of memory. They allude to clues to an unrevealed mystery and personal identity. The use of neon to represent conversational language reflects [the artist's] interest in language and subjectivity. Together with the rapidly flashing images of travel, these two elements of the installation investigate the construction of memory and place. There is an inherent tension between the iconic postcard travel images, the familiarity of the neon sign as the language of advertising and the private thoughts suggested in Gone Missing.
Des mesures :
Collection:
Date de réalisation : 2010
Matériaux : neon
Collection virtuelle : Original CCCA
IIII wa wa wa WANT
Artist: Yvonne Singer
ID : 74653
Description: I I I I wa wa wa WANT is a site-specific installation consisting of the words, "I want" in neon, and mounted on 2 opposite-facing mirrors.The self-reflecting mirrors will create the illusion of repeating the words to infinity as well as implicating the viewers reflected in the mirrors.
The Convenience Gallery storefront was the ideal location for this work. It is the intersection of the space of commerce and the private space of individual longing. The work speaks to our desires. Neon signs are familiar signifiers of commerce in an urban setting and the media advertising surrounding us promotes the economy of desire. Who doesn't want something? Who hasn't looked longingly at shop window?
Des mesures : 81.28 x 147.32 x 7.62 cm
Collection:
Date de réalisation : 2010
Matériaux : flashing neon, plexiglass, aluminium
Collection virtuelle : Original CCCA
![I do, I undo, I redo, [an homage to Louise Bourgeois]](https://ccca.art/wp-content/uploads/2024/04/singery287.jpg)
I do, I undo, I redo, [an homage to Louise Bourgeois]
Artist: Yvonne Singer
ID : 78091
Description: KWT Contemporary Gallery, Toronto [2011].
Des mesures :
Collection:
Date de réalisation : 2011
Matériaux : laser-cut acrylic letters
Collection virtuelle : Original CCCA
![I do, I undo, I redo, [an homage to Louise Bourgeois, detail]](https://ccca.art/wp-content/uploads/2024/04/singery288.jpg)
I do, I undo, I redo, [an homage to Louise Bourgeois, detail]
Artist: Yvonne Singer
ID : 78092
Description: KWT Contemporary Gallery, Toronto [2011].
Des mesures :
Collection:
Date de réalisation : 2011
Matériaux : laser-cut acrylic letters
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery324.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78101
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery320.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78103
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery314.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78106
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery323.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78102
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
Grandmother’s Letter, installation shot, Cambridge Library
Artist: Yvonne Singer
ID : 78088
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl letters
Collection virtuelle : Original CCCA
Fragments of a conversation
Artist: Yvonne Singer
ID : 78087
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux :
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery313.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78105
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery312.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78104
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
Grandmother’s Letter, detail
Artist: Yvonne Singer
ID : 78089
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl letters
Collection virtuelle : Original CCCA
The Game of Life: 1 step forward, 10 steps backwards
Artist: Yvonne Singer
ID : 78097
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
Fragments of a conversation
Artist: Yvonne Singer
ID : 78085
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux :
Collection virtuelle : Original CCCA
The Game of Life: 1 step forward, 10 steps backwards
Artist: Yvonne Singer
ID : 78094
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery322.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78108
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery311.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78100
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery321.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78098
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
The Game of Life: 1 step forward, 10 steps backwards
Artist: Yvonne Singer
ID : 78093
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
The Game of Life: 1 step forward, 10 steps backwards
Artist: Yvonne Singer
ID : 78095
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery315.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78107
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
![The Game of Life: 1 step forward, 10 steps backwards [detail]](https://ccca.art/wp-content/uploads/2024/04/singery326.jpg)
The Game of Life: 1 step forward, 10 steps backwards [detail]
Artist: Yvonne Singer
ID : 78099
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
Fragments of a conversation
Artist: Yvonne Singer
ID : 78086
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux :
Collection virtuelle : Original CCCA
The Game of Life: 1 step forward, 10 steps backwards
Artist: Yvonne Singer
ID : 78096
Description: Part of art souterrain festival, and nuit blanche, Montreal, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl graphic
Collection virtuelle : Original CCCA
Grandmother’s Letter, detail
Artist: Yvonne Singer
ID : 78090
Description: Jst wrds Exhibition, Cambridge Galleries, 2013.
Des mesures :
Collection:
Date de réalisation : 2013
Matériaux : vinyl letters
Collection virtuelle : Original CCCA
