Vote for the photograph that you think the Capture Photography Festival should install on the exterior of King Edward Canada Line Station. The artwork will be part of the public programming for the 2017 festival, which will include photo-based installations at many stations along the Canada Line.

This past fall, Capture Photography Festival and the Georgia Straight invited photographers from all backgrounds and practices to respond to the theme On and Off the Road.

OFFICIAL SITE

Photographers were asked to submit images that considered the conventional road narrative in an unconventional way. With the theme On and Off the Road Capture plans to present photographs and lens-based work around the theme of the road. The photographers were asked to broadly consider how modes of mass transportation can simultaneously be places of intense control while remaining emblems of freedom and adventure in the Western pop cultural imagination. Artworks submitted could also consider the use of the road narrative in both modern and contemporary art, literature, and film, as well as the limits of that narrative and the need for alternatives.

The Expert Jury consisted of Kimberly Phillips, Director/Curator of Access Gallery and regularly teaches on curatorial practices and the history of visual culture at Emily Carr University of Art + Design, Michael Love, Photographer, Curator at Gallery 295 and Sessional Photography Instructor at University of the Fraser Valley and Emily Carr University of Art + Design, and John Goldsmith, Photographer and winner of last year's competition. They’ve selected a shortlist of entries and now it’s the public’s turn to select their favourite. Vote for as many entries as you like but multiple votes for the same entry will not be counted.

The winning artist’s image(s) will be installed large scale at the Canada Line King Edward Station and the artist will be paid a $500 fee. This installation will be part of the larger multi-sited Capture Public Art Installation in partnership with the Canada Line Art Program and InTransit BC, which will stretch across at least seven stations on the Canada Line.

Vote for Laurence Dauphinais

Laurence Dauphinais

Artist Statement: Laurence Dauphinais artistic process is focused in photography, although she is interested in video. Her projects give rise to non-linear narratives that address issues related to memory, territory, and history, both personal and social. The transcendence of the thing photographed; the use of colour, framing, shapes in the frame, artificial light, giving the image a meaning beyond its circumstances, is an approach that she advocates. She tries to challenge our perception of reality by constructing scenes. Her photographic projects are often the result of a philosophical questioning, of ideas around memory, time and decline, related to the human being, his body and his territory.

Vote for Merle Addison

Merle Addison

Artist Statement: “a multi-faceted city in a crumpled map sort of way”

The King Edward Canada Line Station location is surrounded by a multiplicity of roads; traffic in all of its interpretations. And one can feel the inter-connections of the different paths they take; something that changes, even as you sense it. The road, the rail lines, the power-grids', the communications; finding the old and new paths and patterns we have discovered and continue to make. The topographic is still visible even with the lines we draw over them in some vain attempt to impose our idea of order. The undulations of our roads covering the old deer paths, the meander of the streams, the river, the tides of the ocean; they all still exist.

The basic image is 4 photograms of laid paper with a hand rendered spiral, a unique silver print piece from 1993. I re-photographed it in colour and through digital manipulation(s) it comes out in one variation as what you see here. I have been working with this series, in its various manifestations to create layered patterns of grids, spirals and eddies that abstractly relates to the concept of different roads and the traffic on them.
I am not of the Vancouver School as such but I’m one of the other’s. I have a great respect for the history and traditions, the path of photography. This work is created from one piece that used an original analogue method from photography’s early history and then is manipulated with modern digital tools. Who knew that the road would lead it here?

To deal with the windows being two panels, I made one side of the piece the mirror image of the other. The substrate for the final print will be translucent and visible from both sides for a continuous whole.

It’s the same changing patterns; different explanations depending on the road taken.
A connection point.

Vote for Scott MacEachern

Scott MacEachern

Artist Statement:
Travel broadens.
Neutral pathways enliven.
Especially when
Its not you doing the drivin’.

Vote for Stuart McCall

Stuart McCall

Artist Statement: Industrioglyphs

When I began photographing industrial sites, it was with an eye to architectural design and heroic structural elements. This series of images focuses on specific idiosyncratic details within the landscape of road construction.

During my numerous visits to sites of construction and industrial activity, I find myself drawn to a recurring language of colourful, temporary markings inscribed on cement buttresses, building walls, road surfaces, posts, boulders, trees, etc. Reminiscent of Cuneiform, Elamite, or prehistoric scripts marked on cave walls, these inscriptions pass a message to some future observer, which presumes an understanding of continuum.

In the complex, deadline driven, construction site environment, a simple method of marking is often the only, and certainly the most expedient way to pass on information. With the use of spray paint, chalk, pencils, paint and felt markers, various conventions are evident - geometric representations, coloured symbols, numerals and abbreviated words.

A compelling feature of these marks is their temporary nature, as they mark the transition between permanence and impermanence. Lasting for months, weeks or minutes, they indicate the need for an action to be taken. They are then covered over, sawn through, dug up or otherwise removed from sight. With photography we contrast the temporary nature of the markings with the permanence of the structure and the print.