
This catalogue, published in 2006 by the Contemporary Art Gallery, documents Myfanwy MacLeod’s first institutional solo exhibition,  Where I Lived, and What I Lived For, at the Contemporary Art Gallery, January 20 – February 26, 2006. The publication includes essays by Francis McKee, An Empire of Ruins and Jenifer Papararo, New Icons of the Pastoral and an interview with the artist and Connie Butler.


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Where I Lived, And What I Lived For,

Myfanwy MacLeod

Myfanwy Macleod

Myfanwy Macleod continues to distinguish herself through a diverse body of work marked by her wry sense of humour. Her layered referencing of literature and popular culture, and idiosyncratic use of materials are featured in *Where I Lived, and What I Lived For*. For this work Macleod draws on such diverse sources as Scottish folklore, drug culture and vernacular representations of the otherworldly. Inspired by Henry David Thoreau's autobiographical account of his stay at Walden Pond, Macleod used her three month residency at Glenfiddich Distilleries in the remote regions of Northern Scotland as a means to reflect on the anxieties associated with the nature of economy. As part of this new work Macleod will exhibit her first large-scale series of photographs, along with drawings of marijuana grow-ops, and an organic sculptural installation. In combination these works recount a haunted narrative of abandonment, paranoia, decay, and self-mockery.

Myfanwy Macleod's exhibition is sponsored by Glenfiddich Distilleries.

### Biography

Myfanwy MacLeod was born in London, Ontario in 1961. She studied at Concordia University in Montreal and obtained an MFA from the University of British Columbia, Vancouver in 1995. She continues to live and work in Vancouver. She has exhibited both nationally and internationally. In 1999, she was awarded the VIVA award from the Doris and Jack Shadbolt Foundation. That same year, she also represented Canada at the Melbourne Biennale in Australia. Most recently, she was included in the exhibitions *Strips and Characters*, Kunstverein Wolfsburg, Germany and *re(framed) locations, dis(covered) desires: invading the personal and erasing communication errors*, Laznia/Bathaus Centre for Contemporary Art, Gdansk Poland. She is represented by the Catriona Jefferies Gallery, Vancouver where she recently exhibited the sound installation *Don’t Stop Dreaming.*

Essay: "New Icons of the Pastoral," Jenifer Papararo

 A closeup of a circular mirror mounted on a white wall. The reflection in the mirror shows the corner of a gallery, with several orange drawings in white frames.

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In a gallery there are 5 large photos, and a sculpture on a plinth. The photos show green hills, a door and a tub, and the sculpture beside it, which is a floral sheet over a figure with eye holes.

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In a gallery, there is a sculpture of a ghost-like figure with a floral sheet, displayed on a plinth. On the next wall, there are 5 large framed photos, showing fragments of worn-down buildings. 

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Three visible walls in a gallery. On two walls, there are large colour photos in wood frames. In front of the other wall is a large sculpture of a figure covered in a white sheet, resting on a plinth.

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Orange drawings in white frames mounted on one wall of a gallery. On the perpendicular wall, a circular mirror reflects more of these drawings. There is a large white rug on the floor in the space.

Myfanwy MacLeod

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