Scotiabank CONTACT Photography Festival
Tim Roda, Anarchy Pot (pin-hole camera), 2018. Ceramic and mixed media, 14.5 x 11 x 11”. Courtesy of the artist.
Tim Roda, Anarchy Pot (pin-hole camera)
Isabel Martinez, The Seen and the Visualized #1, from the series The Eye Can’t See Itself, 2017. Chromogenic print, 32 x 40”. Courtesy of the Artist
Isabel Martinez, The Seen and the Visualized #1, from the series The Eye Can’t See Itself
Liz Nielsen, Southwestern Landscape, 2018. Chromogenic print, 24 x 20”. Courtesy of the artist.
Liz Nielsen, Southwestern Landscape
Alison Rossiter, Eastman Kodak Bromesko (London), Exact expiration date unknown, ca. 1940’s. Courtesy of Stephen Bulger Gallery, Toronto and Yossi Milo Gallery, New York.
Alison Rossiter, Eastman Kodak Bromesko (London)
Jim Verburg, Untitled, 2003. Archival pigment print, 29 x 45”. Courtesy of the artist and Zalucky Contemporary, Toronto.
Jim Verburg, Untitled
Katarina Riopel, Untitled III, 2017. Archival pigment print, 50 x 40.
Katarina Riopel, Untitled III
2018 Featured Exhibition

Group Exhibition
Let There Be Light

May 11–June 16, 2018
Angell Gallery
1444 Dupont St, Unit 15
Artists Isabel M. Martinez
Liz Nielsen
Sarah Sands Phillips
Katarina Riopel
Tim Roda
Alison Rossiter
Jim Verburg

I have seized the light—
I have arrested its flight!

— Louis Daguerre

Ever since Louis Daguerre’s experiments in the darkroom in the 1820s, Étienne-Jules Marey and Georges Demenÿ’s methods of capturing human movement 60 years later, and May Ray’s adaption of the photogram (into what he coined “rayograms” in the 1930s), scientists, inventors, and photographers have searched for methods of creating images that employ light as something other than a tool to illuminate the subject situated before a camera.

Many contemporary artists continue to produce images using analogue processes that capture the spirit of these innovations in their handling of light as a material, and the camera and darkroom as tools and sites of experimentation. Tim Roda and Jim Verburg’s use of “outmoded” equipment such as photocopiers and pinhole cameras, the careful regulation of light by Isabel M. Martinez within the camera and Alison Rossiter in the darkroom, the capture of fleeting light effects and their migration between the digital and analogue realms by Sarah Sands Phillips and Katarina Riopel, and the colourful assemblages of Liz Nielsen demonstrate that the poetic potential of light remains an enduring area of artistic experimentation.

Curated by Bill Clarke

Scotiabank CONTACT
Photography Festival

80 Spadina Ave Suite 205
Toronto ON M5V 2J4
Gallery Hours
Tue-Fri 11am–5pm
The CONTACT Gallery
is wheelchair accessible.