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Rehab Nazzal

Osvaldo Ramirez Castillo

Roger Crait

Yam Lau

Thomas Grondin, Hélène Lefebrve, Cara Tierney, Theo Pelmus

Raymond Boisjoly, Steven Hubert, Sara Mameni, Isabelle Pauwels and Ron Tran (BC) - Karina Bergmans, Jennifer Cook, Roy Lu, Minh Nguyen and Stefan Thompson (ON)

Afshin Matlabi

Robyn Cumming

Kinga Araya

Duane Linklater, Jason Lujan & Tania Willard

ENRICHED BREAD ARTISTS

Kristin Bjornerud & Tamara Bond

Christopher Flower

Fred Laforge

Maria Hupfield & Stephen Foster

Antonia Hirsch

Wyatt

Will Aitken & Pao Quang Yeh

Althea Thauberger

Artists and musicians brought together through graphic scores.

Lynda Gammon

David Hannan

Marianne Nicolson

Howie Tsui

Karina Kalvaitis

Jingyuan Huang

Ross Birdwise

Heather Passmore (Vancouver)

Yvonne Venegas (Mexico)

Tony Fouhse & James Erdeg

David Yonge

Sébastien Cliche

Jo Cook

Michèle Provost

Michael Belmore (Anishnabe) and David Ruben Piqtoukun (Inuit)

Mercury Vapour Collective: Aaron Mckenzie Fraser, Darcy Lyndon Fraser, Rolf Klausener, Ben Welland

Linda Carreiro

David Diviney

Farouk Kaspaules

Josée Pellerin

Gabriele Di Matteo

In-Between

Mary Anne Barkhouse

Don Gill

María Lezón

Dawit Petros

James Prior

Pat Durr

Heather Nicol

Jayce Salloum

Tomorrow's News

Greg Staats

Mass Appeal

Fluid Artists

Garry Neill Kennedy

Hannah Claus

Kevin Ei-Ichi deForest

Corine Lemieux

Penny McCann

Frank Shebageget

Karen Henderson

Cheryl Pagurek

Yuichi Higashionna

Rhonda Weppler

Trevor Gould

Cathy Busby

Renate Buser

James Carl, Claudie Gagnon & Massimo Guerrera

Nikki Middlemiss

Maria Thereza Alves

Minerva Cuevas

Eduardo Aquino

Mark Maestro
Janet Werner
Priscilla Yeung

Andrew Wright

Ed Pien and Alexander Irving

Laiwan

 

Neighborhood

January 18 - February 24, 2001

 

In contemporary urban culture, where privacy is actively defended by a public that aspires to anonymity, the overwhelming majority of multi-household residential structures are built to imply discretion and conformity. Bland and unassuming exteriors assimilate easily into the urban landscape, ensuring the security of residents. Expressions of personal taste and individuality are generally confined to the homes' interiors. The only external indications of the intimate lives contained within these buildings are visible in the decorative accents displayed on their balconies and in their windows.

I use photography to subdue the predictable dreariness of most rental architecture, preferring to accentuate the varied patterns and cosmetic abnormalities of individual façades. These subtly distorted images (taken with a plastic camera) mimic the sight pattern of the human eye when it casually observes an unremarkable spectacle: focus appears arbitrary and perspective is warped. With the sky and occasional power lines serving as a backdrop, the structures I photograph appear to have been uprooted from their surrounding environments, corresponding to the psychological experience of the contemporary urbanite. Relocated to the gallery, these buildings create an artificial neighbourhood whose architectural prototypes modestly defy urban trends toward anonymity. We are reminded that a structure's façade is shared between community and tenants, and that Ottawa's cityscape is constructed out of buildings that differ in age, upkeep, and other fundamental attributes. Yet, these façades remain superficial, in the gallery as on the street. Distinct barriers between public and private are part of every urban community. The windowpanes of these buildings appear opaque rather than translucent, reflecting the city's face back to the viewer.

Nikki Middlemiss
Originally from Regina, Saskatchewan, Nikki Middlemiss completed her BFA at the University of Ottawa in 1999. Since then, she has been working in drawing and photography, and has exhibited in Regina and Ottawa. She is now pursuing her MFA at Concordia University in Montreal.

 

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