In a profile of Edmonton-born, Berlin-based artist Adam Shiu-Yang Shaw, writer Lauren Lavery examines how Shaw’s treatment of industrial materials lends insight into our evolving relationship with urban landscapes and technology.
Lauren Lavery
Laren Lavery is a writer, artist, and editor. She is the Associate Director at Catriona Jeffries, Vancouver and the Editor of Peripheral Review, an independent, non-profit platform for documenting and expanding the emerging and under-represented Canadian art scene. She has published art writing for Contemporary Art Review LA, The Capilano Review, ReIssue, BlackFlash, Cornelia Magazine, Public Parking, Peripheral Review, LUMA Quarterly, and in exhibition texts. Her artwork has been exhibited across Canada. Lavery holds a Bachelor of Fine Arts from Simon Fraser University’s School for the Contemporary Arts, and is currently based in Vancouver, BC, on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ilwətaɁɬ Nations.
Coming together for the first time in my tenure without a prompt, the following issue nonetheless feels as though it is circling something specific, even if that something is difficult to name.
Like many Sublime images, both beauty and tragedy mark the two major emotive qualities of Koke’s landscape works, and in spite of these definitions being oppositional, there’s almost no other way to describe them.