Andrew Dadson
*Mugwort (Chrysanthemum weed)*, 2020
natural milk paint, biodegradable earth pigments, limestone, chalk, (indigo/cochineal/weld plant), water on inkjet print
14 x 11 inches 
Edition of 4 + 1 AP; signed, hand-painted
Unframed

For a number of years now, Andrew Dadson has employed the act of painting to consider the marks that humans make on their environment, from the incidental to the communicative to the catastrophic. In recent years, he has become known for works in which he paints plant matter with biodegradable earth pigments before photographing or — in the case of his installation works — exhibiting them. Here, Dadson offers an image of Mugwort, a resilient weed frequently found along roadsides and empty lots, one that has uses both medicinal and mystical. Rather than pigmenting the plant itself, Dadson paints here the surface of the photograph, using a milk paint tinted with naturally occurring pigments, such as indigo, cochineal and weld. Each print in the series is hand-painted and unique.

Courtesy of the artist; Daniel Faria Gallery, Toronto; and Galleria Franco Noero, Turin


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Mugwort (Chrysanthemum weed), 2020

Andrew Dadson

Charlene Vickers
*Diviners Clump | Diviners Three Blue | Diviners Pink Fire*, 2010/2021
inkjet print
20 x 15 inches
Edition of 5 + 2 APs; signed
Unframed

The work of Charlene Vickers operates as a visionary expression of what the artist terms *embodied territory*, giving vital form to the lands, histories and relations of her birthplace in Wauzhushk Onigum as they are felt, imagined and carried across distance. The artist's *Diviners Grasses* series emerged from a practice of daily mark-making undertaken by Vickers several years ago, putting marker to paper as an index to energy, breath and creative life. A centrepiece of her current exhibition *Ancestor Gesture*, these works channel a range of persistent forms, including fire, grasses, hair, and bulrushes. For CAG, Vickers has produced limited edition prints for three of the drawings in this series, offered here at a new scale.

Courtesy of the artist and Macaulay & Co. Fine Art

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Diviners Clump | Diviners Three Blue | Diviners Pink Fire, 2010/2021

Charlene Vickers

Cirprian Mureşan
*12 Leftovers from the negative film of ‘Leap Into the Void” — after 3 seconds*
2003 — 2013
Photo-etching
Edition of 50
Unframed

Artistic and literary works are the starting point for Romanian artist Mureşan who appropriates them in a reflective project that intersects with the recent history of Romania and other Eastern European countries and more generally ponders the realities of the contemporary world often with an understated, wry humour. These negatives were taken from his remake/ homage of *Yves Klein’s Saut dans le vides* (1960) where the artist lays flat in melancholy rather than seen optimistically mid-air.

One of the most significant artists of his generation, solo exhibitions include *Recycled Playground*, Contemporary Art Gallery, Vancouver; the Centre d’Art Contemporain, Geneva and FRAC Champagne-Ardenne, Reims; Ciprian Mureşan and Tomáš Svoboda, Futura Centre for Contemporary Art, Prague Ciprian Mureşan, the Neuer Berliner Kunstverein, Berlin.



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12 Leftovers from the negative film of “Leap Into the Void” — after 3 seconds, 2003 — 2013

Ciprian Mureşan

Damian Moppett
*Stabile Ashtray*, 2006
Glazed ceramic
Edition of 310, unsigned

This special edition glazed ceramic ashtray is reminiscent of Damian Moppett’s *Stabiles A, B, C and C Raw*, four steel sculptures first shown as part of *The Visible Work*, the artist’s solo exhibition held at the Contemporary Art Gallery from March 18 to April 23, 2005. The exhibition *The Visible Work* was also accompanied by a publication.


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Stabile Ashtray, 2006

Damian Moppett

Diyan Achjadi
*The catch of a tiger*, 2019
silkscreen on paper
8.75 x 8.75 inches
Edition of 250 in four variations
Unframed

Diyan Achjadi’s artistic practice is concerned with print media’s fundamental role in the transit of knowledge throughout the world. Her work is a critical response to the cross-cultural influences, contaminations and fantastical imaginings that result from the colonial project. For many years she has been interested in how the decorative arts — particularly wallpapers, textiles and ceramics — are presumed to be innocent, ornamental backdrops to social life, but contain politically potent imagery that serves to perpetuate powerful assumptions around gender, race and nationhood. Extending from Achjadi’s participation in CAG’s major public art initiative, *How far do you travel?*, presented in partnership with TransLink aboard Vancouver buses throughout 2019, *The catch of a tiger* presents a swirling, riotous reconfiguration of traditional Chinoiserie plate design that depicts an imagined Indonesia — its landscapes, architecture and fauna, which with Achjadi’s deft printmaking skills seep outside their borders and boundaries.


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The catch of a tiger, 2019

Diyan Achjadi

Elizabeth Zvonar
Feelings
2010
Porcelain
Edition of 250, unsigned
Unframed

*Feelings*, a limited edition porcelain sculpture made by Elisabeth Zvonar was produced by the Contemporary Art Gallery for *It’s What You Do With It That Counts*, the 22nd CAG Gala and Art Auction held on November 6, 2010.

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Feelings, 2010

Elizabeth Zvonar

Kameelah Janan Rasheed
*Durable Dystopia | Frugal Fantasy | Obsolete Outrage*
From *An Alphabetical Accumulation of Approximate Observations*, 2018
Archival inkjet print on cotton rag paper
Each print edition of 10 plus 2 artist proofs
25 × 20 × 1 cm
Unframed

An interdisciplinary learner, writer and teacher, Kameelah Janan Rasheed’s practice takes shape within and through language. She uses everyday vernaculars and experimental poetics to consider a multitude of Black subjectivities and the relationships we craft between disputed pasts, our present conditions and contingent futures. Core to Rasheed’s work is a direct address and openness to exchange with her audiences. This commissioned edition is drawn from Rasheed’s solo exhibition work, *An Alphabetical Accumulation of Approximate Observations*, which presents an evolving collection of alliterative word pairings developed over a multi-year process. The humorous and dystopic adages map Rasheed’s considerations of comfort, apathy, and self-congratulation in our neo-liberal present, and ask us to consider routine abuses of power.

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Durable Dystopia | Frugal Fantasy | Obsolete Outrage, 2018

Kameelah Janan Rasheed

Lyse Lemieux
*Quiet Pandemonium 15 (Winnie)*
2020
inkjet print, watercolour
20" x 14"
Edition of 10 + 2 APs; signed, hand-painted details
Unframed

For over 40 years, Lyse Lemieux’s prolific, experimental drawing practice has seen her operate between abstraction and representation. During the initial weeks of the COVID-19 pandemic — and its attendant struggles with disconnection, restriction and uncertainty — Lemieux began a series of ink on paper drawings titled *Quiet Pandemonium*, from which this piece is drawn. Originally titled *Quiet Pandemonium 15*, Lemieux revised the work's title following a friend's reference to the lead character from Samuel Beckett’s 1961 play Happy Days, where a woman is embedded in sand — first to her waist, then to her neck — as she tries to go about her daily life. Produced here in an edition of 10, the artist has applied select watercolour details by hand to each print. 

Courtesy of the artist and Wil Aballe Art Projects, Vancouver

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Quiet Pandemonium 15 (Winnie), 2020

Lyse Lemieux

Michelle Bui
*Cling Wrap*, 2021
inkjet print
20 x 14 inches
Edition of 12 + 2 APs; signed
Unframed

Bringing both a painterly and sculptural approach to her photographic practice, Montreal-based artist Michelle Bui works with an array of everyday, seemingly unremarkable materials to create assemblages for the camera. Removed from their utilitarian contexts, these objects become malleable and amorphous, given new form in Bui’s studio through processes of merging, manipulating, resituating, and image-making. In *Cling Wrap*, Bui offers a haptic scene, one rendered from flowers, plant matter and other objects sheathed in soft plastics. This work extends from a suite of photographs that will be exhibited on CAG’s façade in spring 2022.

Courtesy of the artist

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Cling Wrap, 2021

Michelle Bui

Mike Bourscheid
*Freudian Snore Analyser*, 2017
Polyurethane foam and patinated copper
Edition of 220
Comes in hand silk-screened box
25.4 × 22.86 × 10.16 cm
Unframed 

Mike Bourschied’s *Freudian Snore Analyser* was the featured edition of the CAG’s 29th Annual Gala and Art Auction. The artist describes the piece as a tool to both amplify one’s snoring and interpret one’s dreams. Bouscheid’s sculpture and performance based practice, which often involves hi fabrication of ungainly appendages and prosthetics, channels alternate personae as a device for exploring absurdities of masculine expression and patriarchal power. In his performances , these ‘costumeobjects’ become actors in their own right. The process of learning often highly-gendered skills necessary to produce the work— from patternmaking to baking to copper soldering—is a fundamental part of Bourscheid’s practice.

Mike Bourscheid is an artist living and working between Luxembourg and Vancouver. He recently represented Luxembourg at the 57th Venice Biennale. He has exhibited extensively in Canada and abroad, and has been included in the Centre d’art Oeil de poisson, Quebec City; Gallery 295, Vancouver; Access Gallery, Vancouver; Galerie Nei Liicht, Luxembourg; insitu, Berlin; and Kunstverein Harburger Bahnof, Hamburg. His work is in the collection of IBB Iinvestment Bank Berlin and CNA Luxembourg.


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Freudian Snore Analyser, 2017

Mike Bourscheid

Rodney Graham
*Jacob Grimm’s Study in Berlin/ Wilhelm Grimm’s Study in Berlin 1860*, 1992
Etchings
Edition of 75
Unframed

This set of etchings was published by the Contemporary Art Gallery in 1992, and was conceived in relation to Five Interior Design Proposals for The Grimm Brothers’ Studies in Berlin (1992), the project Graham exhibited at Documenta in Kassel, Germany. The images are variations on the studies occupied by the Brothers Grimm in the 1860s in Berlin, based on period watercolours. Limited edition of 75.


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Jacob Grimm’s Study in Berlin/ Wilhelm Grimm’s Study in Berlin 1860, 1992

Rodney Graham

Ryan Quast
*Emergency Match*, 2018
Oil, gesso, interiorlatex, glass, cork
Edition of 250
5.7 × 1.9 × 1.9 cm

Ryan Quast’s *Emergency Match* was the featured edition in CAG’s 30th Annual Gala and Art Auction. The artist painstakingly builds his work as a cycle of painting, allowing the piece to dry, then sanding and carefully sculpting the material into objects. This edition continues his characteristically playful take on the world of humble, everyday forms with a piece that is as charming as it is humorous.

Ryan Quast has had recent solo exhibitions at Wil Aballe Art Projects and Crying Room, both in Vancouver. Select group exhibitions include James Black Gallery, Emergency Room, Gallery Gachet, 1151 Fraser St, Helen Pitt Gallery, The Butcher Shop (all Vancouver) and Chelsea College, London, UK. Quast is represented by Wil Aballe Art Projects, Vancouver.


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Emergency Match

Ryan Quast

Scott Massey
*The Party Crashers*, 2016
Cast bronze, encased in wooden box
Edition of 250
5 variations: (*99942 Aphophis*; *4179 Toutatis*; *951 Gaspra*; *1036 Ganymed*; *25143 Itokawa*)

Massey combines interest in astronomy, cosmology and quantum physics. The various photograph, installation works and sculptures he produces investigate the very small and the very large, as the works urge us to ask questions about the nature of existence and the troubling duality of light as both medium and pure energy. They examine figurative and literal aspects of the seemingly unknowable, unfathomable or invisible, brought to light through sustained engagement and investigation.

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The Party Crashers, 2016

Scott Massey