No One in the Sleeping Bag
Artist: Bev Pike
Work ID: 78169
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Work by Bev Pike
My Closet
Artist: Bev Pike
Work ID: 78156
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina, 2009 [29 works]
Date Made: 1981
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nothing in the Drawer
Artist: Bev Pike
Work ID: 78157
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina, 2009 [29 works]
Date Made: 1981
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nothing on the Shelf
Artist: Bev Pike
Work ID: 78174
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nothing Left of Mine
Artist: Bev Pike
Work ID: 78173
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
More Nothing in the Crawlspace
Artist: Bev Pike
Work ID: 78165
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Her Old Stuff
Artist: Bev Pike
Work ID: 78164
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: private, Calgary [1987]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
More Boxes
Artist: Bev Pike
Work ID: 78158
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: University of Alberta Collections, Ring House Gallery [1987]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nothing in the Kitchen
Artist: Bev Pike
Work ID: 78172
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nobody in the Linen
Artist: Bev Pike
Work ID: 78166
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Ghosts in the Closet
Artist: Bev Pike
Work ID: 78170
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nothing in the Basement
Artist: Bev Pike
Work ID: 78171
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Nobody in the Closet
Artist: Bev Pike
Work ID: 78176
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Boxes of Junk
Artist: Bev Pike
Work ID: 78162
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Not Much in the Crawlspace
Artist: Bev Pike
Work ID: 78175
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
No More Games
Artist: Bev Pike
Work ID: 78167
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
No One in My Room
Artist: Bev Pike
Work ID: 78168
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Gail’s Corner
Artist: Bev Pike
Work ID: 78163
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
No One in the Sleeping Bag
Artist: Bev Pike
Work ID: 78169
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1982
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
No One Downstairs
Artist: Bev Pike
Work ID: 78161
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1983
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Ghosts in the Bedroom
Artist: Bev Pike
Work ID: 78159
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1984
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Leaving the Ghost Cave
Artist: Bev Pike
Work ID: 78160
Description: Ghost Series.
The Ghost series was created between 1981-1984 and exhibited it across Canada. The series investigated repetitive bereavement rituals, and involved obsessively recording artefacts before their disbursement. Pike was researching ways in which significance is embodied in memorabilia, artwork and other evidence of a human life. She merged two points of view inside each drawing to intensify the fractured nature of this exploration, as well as to evoke multiple perspectives. This series was Pike’s first major undertaking as an emerging artist, and it remains pivotal to the development of her artistic vision and career. The Ghost series later influenced an article called Extirpation Prevention that Pike wrote for a 1999 publication called Feminist Re-construction (St. Norbert Arts Centre, Winnipeg). These works were precursors to the 1990-2000 Microscopic Remains series of large-scale paintings that toured Canada. Originally, there were twenty-four in all, painted in Edmonton.
Measurements: 76.2 x 101.6 cm
Collection: MacKenzie Art Gallery, Regina [2009]
Date Made: 1984
Materials: drawing on watercolour board
Virtual Collection: Original CCCA
Untitled, detail
Artist: Bev Pike
Work ID: 78190
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements:
Collection:
Date Made: 1989
Materials: gouache on paper
Virtual Collection: Original CCCA
Untitled
Artist: Bev Pike
Work ID: 78188
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection:
Date Made: 1989
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Untitled
Artist: Bev Pike
Work ID: 78189
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection:
Date Made: 1989
Materials: gouache on paper
Virtual Collection: Original CCCA
Chambre de Désespoir
Artist: Bev Pike
Work ID: 78185
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection:
Date Made: 1990
Materials: gouache on paper
Virtual Collection: Original CCCA
Room of Nerve Endings
Artist: Bev Pike
Work ID: 78177
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection: Museum of Contemporary Canadian Art, Toronto
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Chambre de Désespoir, detail
Artist: Bev Pike
Work ID: 78186
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements:
Collection:
Date Made: 1990
Materials: gouache on paper
Virtual Collection: Original CCCA
Chambre Qui Plait
Artist: Bev Pike
Work ID: 78182
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection: Private, Winnipeg [2002]
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Caressing Room
Artist: Bev Pike
Work ID: 78181
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection:
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Chambre Qui Plait, detail
Artist: Bev Pike
Work ID: 78183
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements:
Collection: Private, Winnipeg [2002]
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Rapunzel Room
Artist: Bev Pike
Work ID: 78184
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
[Image courtesy of the Canada Council Art Bank]
Measurements: 0.2784 x 0.348 m
Collection: Canada Council Art Bank, Ottawa [1993]
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Room of Nerve Endings, detail
Artist: Bev Pike
Work ID: 78178
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.348 m
Collection: Museum of Contemporary Canadian Art, Toronto
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Chambre de Chaleur
Artist: Bev Pike
Work ID: 78179
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
[Image courtesy of Canada Council Art Bank]
Measurements:
Collection: Canada Council Art Bank, Ottawa [1994]
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Chambre de Chaleur, detail
Artist: Bev Pike
Work ID: 78180
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
[Image courtesy of Canada Council Art Bank]
Measurements:
Collection: Canada Council Art Bank, Ottawa [1994]
Date Made: 1990
Materials: oil glazes, metallics on canvas
Virtual Collection: Original CCCA
Twighlight Navigation
Artist: Bev Pike
Work ID: 78187
Description: Boudoir Series.
The works in the Boudoir series (1989-1993) arose from research into Parisian cultural heroine’s bedrooms. Pike was fascinated by their relishing of sensual fecundity. The bedroom, and the bed itself, became filters through which things like political views, nightmares, fantasies, dreams, emotional transitions and physical sensations had to pass. The bed animated a metaphor for a sensually indulgent state of desire. Pike’s representation of this platform of transformation became laborious as it incorporated subjectivity and emotional content right into the surfaces. The layering of oil glazes on metallic leaf, sparkles and silver paint created a luminosity and a sub-aquatic feeling which added to the fantasy. Pike’s quest was to depict not only the sensations of her own body, but also to analyse how those perceptions altered what was consciously known.
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 1993
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of Departed Love
Artist: Bev Pike
Work ID: 78197
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 1997
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of Memory Transplant
Artist: Bev Pike
Work ID: 78195
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 1998
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of Memory Transplant, detail
Artist: Bev Pike
Work ID: 78196
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 1998
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of Broken China, detail
Artist: Bev Pike
Work ID: 78194
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 1999
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of Broken China
Artist: Bev Pike
Work ID: 78193
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 1999
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of the Sea of Heartbreak
Artist: Bev Pike
Work ID: 78191
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2001
Materials: gouache on paper
Virtual Collection: Original CCCA
Microscopic View of the Sea of Heartbreak, detail
Artist: Bev Pike
Work ID: 78192
Description: Microscopic Remains.
The Microscopic Remains series (1990-2001) series developed from observations of mourning gestures: of sorting through clothes for their evocative essences; of repetitively touching something to re-animate the memory of it; of embodying sensations of remembering. Pike’s research included the inhabitation of stories told so often that the listener becomes a participant in events that happened long before birth. This inhabitation meant involvement in the bodies telling them. Pike also investigated the contortions of mourning. She researched the movement of sensations between donor and recipient that a transplanted organ can bring. In addition, she researched the morphology of human death. This ordeal prompted the uncanny surfacing of memories experienced by other bodies and transferred to her own.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2001
Materials: gouache on paper
Virtual Collection: Original CCCA
Lunacy, detail
Artist: Bev Pike
Work ID: 78203
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection: Winnipeg Art Gallery
Date Made: 2003
Materials: gouache on paper
Virtual Collection: Original CCCA
Lunacy
Artist: Bev Pike
Work ID: 78202
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection: Winnipeg Art Gallery
Date Made: 2003
Materials: gouache on paper
Virtual Collection: Original CCCA
Vintage Passions, detail
Artist: Bev Pike
Work ID: 78207
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2004
Materials: gouache on paper
Virtual Collection: Original CCCA
Vintage Passions
Artist: Bev Pike
Work ID: 78206
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2004
Materials: gouache on paper
Virtual Collection: Original CCCA
Deluge
Artist: Bev Pike
Work ID: 78208
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2005
Materials: gouache on paper
Virtual Collection: Original CCCA
Exhibition installation, Niagara Artists’ Company
Artist: Bev Pike
Work ID: 78215
Description: Niagara Artists’ Company, St. Catharines, Ontario, 2005.
Measurements:
Collection:
Date Made: 2005
Materials:
Virtual Collection: Original CCCA
Deluge, detail
Artist: Bev Pike
Work ID: 78209
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2005
Materials: gouache on paper
Virtual Collection: Original CCCA
The Reflective
Artist: Bev Pike
Work ID: 78200
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2007
Materials: gouache on paper
Virtual Collection: Original CCCA
The Reflective, detail
Artist: Bev Pike
Work ID: 78201
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2007
Materials: gouache on paper
Virtual Collection: Original CCCA
Alchemy, detail
Artist: Bev Pike
Work ID: 78205
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2008
Materials: gouache on paper
Virtual Collection: Original CCCA
Alchemy
Artist: Bev Pike
Work ID: 78204
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2008
Materials: gouache on paper
Virtual Collection: Original CCCA
Chill
Artist: Bev Pike
Work ID: 78198
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2010
Materials: gouache on paper
Virtual Collection: Original CCCA
Chill, detail
Artist: Bev Pike
Work ID: 78199
Description: Hysteria Chronicles Series.
In the Hysteria Chronicles series (2003-2010), Pike wished to create a topographical narrative from artefacts of disembodiment. She was studying how bundles of clothing became redolent of overlapping social histories. Her inquiry concerned garments and drapery as they recorded, like woven exoskeletons, the threshold between somatic turmoil and equilibrium. These piles assembled a spectacle, a hybrid of architecture, body and land.
Photographers: Robert Barrow, Sheila Spence
Measurements:
Collection:
Date Made: 2010
Materials: gouache on paper
Virtual Collection: Original CCCA
Entrance to an Underground Riding Academy
Artist: Bev Pike
Work ID: 78210
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Photographer: Robert Barrow
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2011
Materials: gouache on paper
Virtual Collection: Original CCCA
Entrance to an Underground Riding Academy, detail
Artist: Bev Pike
Work ID: 78214
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Photographer: Robert Barrow
Measurements:
Collection:
Date Made: 2011
Materials: gouache on paper
Virtual Collection: Original CCCA
Entrance to an Underground Riding Academy, detail
Artist: Bev Pike
Work ID: 78212
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Photographer: Robert Barrow
Measurements:
Collection:
Date Made: 2011
Materials: gouache on paper
Virtual Collection: Original CCCA
Entrance to an Underground Riding Academy, detail
Artist: Bev Pike
Work ID: 78213
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Photographer: Robert Barrow
Measurements:
Collection:
Date Made: 2011
Materials: gouache on paper
Virtual Collection: Original CCCA
Entrance to an Underground Riding Academy, detail
Artist: Bev Pike
Work ID: 78211
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Photographer: Robert Barrow
Measurements:
Collection:
Date Made: 2011
Materials: gouache on paper
Virtual Collection: Original CCCA
Subterranean Day Spa, detail
Artist: Bev Pike
Work ID: 78217
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2013
Materials: gouache on paper
Virtual Collection: Original CCCA
Subterranean Day Spa
Artist: Bev Pike
Work ID: 78216
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2013
Materials: gouache on paper
Virtual Collection: Original CCCA
Subterranean Day Spa, detail
Artist: Bev Pike
Work ID: 78218
Description: Folly series.
In the Folly series (2011-), Pike uses two-dimensional paint to evoke the proprioceptive mystery of being within a complex underground shell-encrusted grotto. This piece continued her investigation of the tactile qualities of vision and the simultaneity of sensation. Pike experimented with theatricality and grand illusion, and with erotics of spectatorship. Through these metaphors, she seeks to create perceptual regimes that create spectacle. Pike is looking for ways to engage viewers in a complex spatial relationship.
Follies are extravagant pointless structures embedded within spectacular contemplative gardens. Pike is studying Baroque follies and their anomalous quirky designs and aesthetics. Like a wander through a park, each painting will lead to a view of the next. All the works together will comprise a gigantic serpentine of passageways and chambers.
This Folly series explores holding traditional scenic narratives at bay, leaving room for mischievousness. Pike seeks to place the viewer in a supernatural tale of dread and desire. In this overwhelming drama, each puzzle is significant. Each furthers her interest in two-dimensional and static paint becoming performative.
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2013
Materials: gouache on paper
Virtual Collection: Original CCCA
Buried Dancing Pavilion
Artist: Bev Pike
Work ID: 81838
Description:
Measurements: 0.2784 x 0.6264 m
Collection:
Date Made: 2015
Materials: gouache on paper
Virtual Collection: Original CCCA
Buried Dancing Pavilion, detail
Artist: Bev Pike
Work ID: 81839
Description:
Measurements:
Collection:
Date Made: 2015
Materials: gouache on paper
Virtual Collection: Original CCCA
Cavernous Sun Parlour detail
Artist: Bev Pike
Work ID: 82509
Description:
Measurements:
Collection:
Date Made: 2016
Materials: gouache on paper
Virtual Collection: Original CCCA
Cavernous Sun Parlour detail
Artist: Bev Pike
Work ID: 82508
Description:
Measurements:
Collection:
Date Made: 2016
Materials: gouache on paper
Virtual Collection: Original CCCA
Cavernous Sun Parlour
Artist: Bev Pike
Work ID: 82507
Description:
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2016
Materials: gouache on paper
Virtual Collection: Original CCCA
Gazing Pond Chamber, detail
Artist: Bev Pike
Work ID: 82814
Description:
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2018
Materials: gouache on paper
Virtual Collection: Original CCCA
Gazing Pond Chamber
Artist: Bev Pike
Work ID: 82813
Description:
Measurements: 0.2784 x 0.696 m
Collection:
Date Made: 2018
Materials: gouache on paper
Virtual Collection: Original CCCA
