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The Fine Thread of Deviation

  • Mercer Union 1286 Bloor Street West Toronto, ON, M6H 1N9 Canada (map)

Brought to you by artists and silkworms.
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Anne Low & Evan Calder Williams

15 September 2018 - 3 November 2018
Opening Reception 14 September 2018 7pm

The silkworm has long been reared commercially for the production of silk fibre; their cocoons are naturally spun white and later dyed into a variety of colours. In 2011, researchers in Singapore developed a technique of adding a chemical dye known as Rhodamine B into the diet of silkworms, producing cocoons of brightly coloured silk thread. The first silkworms to ingest the dye wove cocoons of fluorescent pink, offering a possibility for eliminating traditional dyeing methods from the production of silk products. This method, and its indication of broader transitions in the textile industry, carries material concerns that underlie Anne Low and Evan Calder Williams’ collaborative project π˜›π˜©π˜¦ 𝘍π˜ͺ𝘯𝘦 π˜›π˜©π˜³π˜¦π˜’π˜₯ 𝘰𝘧 π˜‹π˜¦π˜·π˜ͺ𝘒𝘡π˜ͺ𝘰𝘯.

The exhibition at Mercer Union picks up from and radically revises Low and Williams’ collaboration, first presented in 2016 at ISSUE Project Room in New York. In an exploration of continuous experimentation, the artists will reimagine the dynamics and tendencies of their collaborative work and materialize it wholly new. At its heart is a projection screen hand-woven in silk using a variation on a twill pattern conceived by Low and Williams. This screen and its pattern ground the structure of the video shot and assembled by Williams, which uses the β€œrhythm” of a woven pattern’s binary construction β€” one thread over or under another β€” to generate a system of montage that organizes text, thermographic imaging, digital video, found footage and bands of colour. The content of the video is less a narrative than a mosaic of discontinuous histories finding points of continuity, including the history of Rhodamine B, passing from its use by striking silk weavers as part of their sabotage to production to the transformation of silkworms themselves into miniature dye houses.

The fluorescent pink from these early silkworm experiments – a hue modulated by Williams to hover between the pure toxic dye and the hot red that came to stand for militant organization against the conditions of such labour – washes over the screen and seeps deep into the hallway and lobby of the gallery, meeting the equally saturated light coming from the gallery’s pink front door. The screen here is treated as interface: a porous and continually shifting frame, endlessly permuting a luminescent light source, a display structure; and, a dense net of woven gestures. The artists share their approach to materiality; seeing both textile and moving image as kneaded with time, though here, time is permeable, malleable embodiments of history. And, here, industrial history includes the removal of the maker’s hand from the production of textiles,the shift in technologies from analogue to digital, and the forms of attempted oversight and control written into new technical forms themselves – including the explosive possibility of their inversion and misuse. This expanded conception of the screen transforms the main gallery into an installation, itself an interface for temporal marks made by the movement of bodies.

Meanwhile, the back gallery acts as a literal β€œbackspace”, titled π˜—π˜’π˜±π˜¦π˜³π˜΄π˜΅π˜’π˜ͺ𝘯𝘦𝘳 it will house new sculptures created by Low. In contrast to the experimental condition of Low and Williams’ collaboration, π˜—π˜’π˜±π˜¦π˜³π˜΄π˜΅π˜’π˜ͺ𝘯𝘦𝘳 presents an interior belonging to a more singular subjectivity. Each of Low’s newest sculptures are produced using highly specific craft methodologies usually ascribed to furniture making and domestic interiors. While several components of these works have been fabricated by a craftsperson, Low instrumentalizes these techniques as one of many materials within her work. The installation of a site-specific architectural interior turns this space into a private quarter for the consideration of Low’s sculptures.

Presenting a new commissioned project by Anne Low and Evan Calder Williams, this exhibition marks the duo’s first collaborative presentation in Canada. The exhibition is curated by Julia Paoli, Director of Exhibitions & Programs at Mercer Union.

π˜›π˜©π˜¦ 𝘍π˜ͺ𝘯𝘦 π˜›π˜©π˜³π˜¦π˜’π˜₯ 𝘰𝘧 π˜‹π˜¦π˜·π˜ͺ𝘒𝘡π˜ͺ𝘰𝘯 is made possible with Leading Support from Partners in Art

Anne Low would like to acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.

Image: Evan Calder Williams and Anne Low, video still π˜›π˜©π˜¦ 𝘍π˜ͺ𝘯𝘦 π˜›π˜©π˜³π˜¦π˜’π˜₯ 𝘰𝘧 π˜‹π˜¦π˜·π˜ͺ𝘒𝘡π˜ͺ𝘰𝘯, 2018. Digital video on handwoven silk. Courtesy the artists. Commissioned by Mercer Union, Toronto.

Earlier Event: September 13
Pride Walk: LGBTQ Heritage in the Village
Later Event: September 15
Tarot Takeover with Qveen of Swords Tarot