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Contact: Cheryl Minns, Arts Editor
Marts@theotherpress.ca
www.theotherpress.ca

 

Iconic animals in Amelia Douglas

Gallery's latest exhibit

» Exploring the human-animal connection through mixed media art

Cheryl Minns

. Arts Editor

M arts
@theotherpress.ca

 

kr: Sacred and Profane is
the latest collection of mixed
media artwork to fill the Amelia
Douglas Gallery, arriving April

artists Elizabeth Carefoot and
Deborah Putman explore the
connection that people have
with animals in their works for
the exhibit.

Carefoot’s works in Icons
include paintings of animals
in place of saints and angels in
traditional imagery, as well as
small shrines.

“I grew up with Russian
icons. For this show, I wanted
to poke gentle fun at this very
traditional and stiff art form by
combining animal heads with
saintly gestures and robes,” she
wrote to the Other Press.

“I wish these depictions
to be a gateway to allow the
viewer to think more deeply
on the roles of animals in our
lives—how we treat them and

: how they would treat us if we
: truly loved and understood

: them,” she explained in her artist :
: statement. :

One of her art shrines is a

: soft sculpture of her daughter’s
: cat, Frankie, framed by medieval :
: architecture and roses. The art
: piece began as an experiment

: in creating an icon ina soft

16. Mixing animals with cultural, : sculpture.

religious, and biological imagery, :

“My creative process

: stems directly from play. I play
: intuitively, never make elaborate :
: plans or sketches, but simply

: gather materials together that

: might or might not work and

: take my inspiration from these,”
: Carefoot wrote.

Putman’s works for Icons

: include two series of artwork,

: ‘Totems” and “Generation DNA,”
: which feature animals, plants,

: people, DNA strands, and more. :
: : on these artists, check out

: their official websites at

: DeborahPutman.com and

: ElizabethCarefoot.com. Icons:

: Sacred and Profane will run from
: April 16 to June 6 at the Amelia

: Douglas Gallery on the fourth

: floor of the Douglas College New
: Westminster campus.

“Creatures both domestic

: and wild, daemons and

: dream animals, populate the

: show revealing historical

: evolution both personally and
: collectively,” Putman wrote.

: “Themes include the Beauty in
: the natural world, its necessity
: and losses, as well as scientific

: play with DNA and GMOs
: (genetically modified foods) and

potential results.”
The exhibit opens on April

16 with an opening reception in
: the gallery from 4:30 to 7:30 p.m.

“T look forward to chatting

: with guests who attend the

: exhibition opening,” Putman

: wrote. “It isa wonderful

: opportunity to share my works

: at the college gallery juxtaposed
: with Elizabeth Carefoot’s works.”

There will also be an artist's

: talk in the gallery on May 21 at
: 7:30 p.m., which members of

: the community are welcome to
: attend.

“I love showing and talking

: to the students at Douglas

: College,” Carefoot wrote. “The
: gallery staff, students, and

: faculty are very welcoming,”

For more information

 

‘Frankie’ by Elizabeth Carefoot

 

New future for Odd Future alum

» T Don't Like S—t, I Don't Go Outside: An Album by Earl Sweatshirt’ review

: From those same opening

: seconds, you get a pretty

: good idea of the attention

: to detail that Earl puts into

: this alternative but digestible
: 30-minute long album. Like

: many hip hop records, this

: one benefits greatly from its

studio album, I Don’t Like S—t, shortened length.

Alex Stanton
Staff Writer

OOOO

hebe Kgositsile, better
known as Earl Sweatshirt,
released his second major label

I Don’t Go Outside: An Album
by Earl Sweatshirt, in March.
Almost entirely self-produced
under the pseudonym
RandomBlackDude, I Don’t
Like S—t is the culmination of
Earl’s tumultuous career as a
musician so far.

Right from the opening
organ chords of the first track,
“Huey,” it’s easy to spot the
signature production style
of Odd Future, the hip hop
collective where Earl began.

Unlike Kendrick Lamar’s

: recent release, To Pimp a

: Butterfly—which deals with

: institutionalized racism

: against blacks in the United

: States—this album is, lyrically,
: avery personal record for Earl.
: On “Grief,” the lengthiest song
: on the album, Earl speaks from
: experience about issues such as
: anxiety and addiction. “Grown
: Ups” is a song directed towards
: his absent father who left when
: Earl was a child. On “Inside,”

: Earl expresses his desire to

: pluck himself from his roots
: as a member of Odd Future
: and as a sideman to Tyler’s

: bandleader.

Odd Future alumnus

: Vince Staples is one of four

: rappers who appear on the

: album, contributing to the

: track “Wool.” Odd Future

: producer, Vyron “Left Brain”

: Turner, produced “Off Top,”

: the only song not credited to

: RandomBlackDude, in the

: same production style that has
: worked for him for years.

Although Earl has grown

: and is trying to break away

: from the pack, this album is

: still Odd Future through and
: through. Like Odd Future

: itself, Earl’s music is an

: acquired taste.

 

Image of Earl Sweatshirt via the305.com