Cull (After Emily Carr)

1998. Detail. Acrylic, mdf. 11’x 21'. Collection: Vancouver Art Gallery

Cull (After Emily Carr)

1998. Installation view. Acrylic, mdf. 11’x 21'. Collection: Vancouver Art Gallery

Cull (After Emily Carr)

1998. Acrylic on mdf. 11' x 21'. Collection: Vancouver Art Gallery.

Cull (After Emily Carr)

Cull (After Emily Carr) was produced for the exhibition weak thought at the Vancouver Art Gallery in the fall of 1998. The piece borrows from the work of Canadian painter Emily Carr. I scanned and pixelated a post card of her painting Loggers’ Culls; this reduced her painting to a minimalist grid of coloured squares. I then replicated this grid, in acrylic paint, on a large constructed panel. Cull (After Emily Carr), an apparently abstract painting, indirectly alludes to the oppressive forest landscape that inspired painters of the past.
This ambiguity around intent and the reading of the object is a fundamental component of Van Halm’s work. …we are left with an uneasy feeling that our relationship to this object (and its ambiguous subject) is framed by our knowledge of disparate and divergent discourses – a history of BC landscape painting, the legend of Emily Carr, a history of minimalist painting, the characteristics and implications of new technologies, and the politics of museological representation.
Bruce Grenville, catalogue essay for the exhibition weak thought held at the Vancouver Art Gallery, November 14, 1998 to January 31, 1999, curated by Grant Arnold and Bruce Grenville