JULIA ABRAHAM
artist statement work cv
NICOLE CLOUGH
LAUREN DZENIS
KIRA KASTNER
DUAA MANSOUR
ALEXANDRA SANDISON
DIANNE SHAWCROSS
MACY SIU
JOL THOMSON
RACHEL WALLACE

artist statement

I understand the landscape to be a dominant aspect in the reconnection of lost memory; a place where if one pays close enough attention, may be able to regain the memories the land has graciously stored. I believe that the landscape inherently swallows the experiences which are first enacted within it. Due to the innate breakdown of human memory, I search for ways to recapture the memories that the land has perhaps recorded. The land takes priority in my practice, and bears primacy in all of my investigations. In order to examine the ways in which the land may reflect identity and embody mnemonic significance I utilize performance, photo-based media, and video to implement my research. My thesis is unified by a continual attempt to extract the mnemonic significance from the land through a series of engagements and interventions.

This engagement with the land takes the form of a performance where I go to a specific location that symbolizes memory and present a proposition through a bodily engagement to pull out the entrenched memories from within it. By revisiting aspects of the memory that are still present in my mind and re-immersing myself in a sensory remembrance, I experience a merging and reconnection of the empty areas. The performance takes the form of a dance, where as I perform the memory, the land becomes my relational partner. The land dually takes on the position of spectator and participant, as I attempt to lure my memories from it. The work will exist as photographic documentation of my performance in the landscape.

I intend to point to the notion that we take into ourselves our experiences by showing that our receiving senses swallow our experiences. I believe the body to be a human documenting machine; therefore to highlight and expand this idea further, I propose to utilize my body as a human camera. The body can be turned into a camera obscura by utilizing my mouth as the body of the camera, therefore photographically documenting my experience from within the human body. By turning my body into the camera I am documenting the passage of the internalization of experience. In following the same principles of the traditional camera obscura, I place a piece of photographic paper in the back of my mouth and cover the opening of my mouth with a black shield and microscopic pinhole. The resulted photographs, which were taken from my mouth, will be enlarged as to proclaim that the final stage of the internalization process is externalization, projected and expelled from the body.

Being apart from places that hold mnemonic importance result in a disarray of the memory and disintegration of remembered experience. As a result of my dislodgement of memory through dislocation, I began to perceive other landscapes as sources of mnemonic material, where I associated an unfamiliar type of tree or flower to a personal signifier of memory. The work consists of a video, where the subject is a landscape called Bradgate Park in the East Midlands of England. My desire to insert myself into a foreign landscape in order to represent a solely collective memory is the central prerogative, as I have no mnemonic attachment associated to this site. This work calls upon the idea that landscapes do in fact hold memory, whether personal or collective, and that if we listen carefully enough are able to extract this information. The video is the documentation of my conversation with this landscape.

 

 

work

Bosworth2 Field6

 

 

cv

Julia Abraham

EDUCATION

2005 – 2009 University of Toronto, Honours B.A. (with Distinction) Fine Art History and Visual Studies, St. Michaelís College
2007 – 2008 College of Fine Arts, University of New South Wales, International Exchange Program (with Distinction) Art Theory and History, Painting, Time-based media
2001 – 2004 Newmarket School of Fine Art, Painting, Drawing, Sculpture

INDIVIDUAL EXHIBITIONS

2009 Hidden Tapestries, curated by JoL Thomson, EEL Gallery, 1 Spadina Crescent, University of Toronto, Toronto
2008 Entropy, Process Gallery, Gallery 1313, Toronto (juried)
Cold Ground, Rrose Sélavy Gallery, College of Fine Arts, Sydney
2005  Colour Harmony, Y.O. Media Gallery, York Region

SELECTED GROUP EXHIBITIONS, SCREENINGS, PUBLICATIONS

2009  Hart House Review, University of Toronto, Toronto
For What is Not Said, University of Toronto Visual Studies Undergraduate Thesis
Exhibition, 1 Spadina Crescent, University of Toronto, Toronto
University of Toronto Film Festival, University of Toronto, Toronto
Chancellor’s Student Art Exhibition, curated by Sunny Kerr, University of Toronto, Toronto
Thesis Fundraiser: For What is Not Said, The Drake Hotel, Toronto
SoundReach, International Audiovisual Collaboration China-Canada, University of Toronto Art Centre, Toronto
 Both/And: What is Beyond Multiculturalism, curated by Maria Campos, University of Toronto Art Centre, Toronto (juried)
Français sans Frontières, curated by Rachel Jacobs, University of Toronto Art Centre, Toronto
2008 Nuit Blanche, Process Gallery, Gallery 1313, Toronto (juried)
Eyeball, 1 Spadina Crescent, University of Toronto, Toronto
 Do You Remember the Place, Art School Musical: The Social, Toronto
Toronto Outdoor Art Exhibition, Nathan Phillips Square, Toronto (juried)
SPI Exhibition, COFA Space Gallery, Sydney
Insight, Ku-ring-gai Council Exhibition, St. Ives, Sydney
2007 Exhibition around the World, curated by Julia Abraham, Gallery 44, Sydney
*Exhibition around the World, curated by Danielle Williams, EEL Gallery, 1 Spadina Crescent, University of Toronto, Toronto
* Genesee Community College, New York
* Geborgen Kamers, Netherlands
* Kulturwerkstatt Uferstöckl, Wallsee
Dislocation, curated by Lena Obergfell, Kudos Gallery, Sydney (juried)
The Art of Torture, Amnesty International Exhibition, TAP Gallery, Sydney      
Salon Hang, curated by Alison Groves, Three Foot SquareGallery, Sydney
2006 Square Foot, A.W.O.L. Gallery, Toronto
Student Art Competition, Wellington Gallery, Toronto
Canada Blooms Exhibition, Metro Toronto Convention Centre, Toronto
2005 Stript Bare: Larchaud Dance Project, 55 Mill Street Distillery Historic District, Toronto
Eyeball, 1 Spadina Crescent, University of Toronto, Toronto

CURATORSHIP

2007 Exhibition around the World, Gallery 44, Sydney
2006  John Estabillo: The Corporeality of Memory, EEL Gallery, University of Toronto, Toronto

COLLECTION

Sacred Heart Catholic High School, Library Information Centre, York Region

Private Collections

 

PROFESSIONAL EXPERIENCE

2009 Curatorial and Collections Management Assistant, University of Toronto Art Centre, Toronto
Master Class, Artist in Residence: Vera Frenkel, Master of Visual Studies,  University of Toronto, Toronto
Head of Curation, Visual Studies: Thesis, University of Toronto, Toronto
2008 Contemporary Curatorial Internship, Art Gallery of Ontario, Toronto
Official Independent Project Participant, Nuit Blanche 2008, Toronto
Canadian Art History Internship, University of Toronto Art Centre, Toronto
Education and Public Programming Assistant, Museum of Contemporary Art, Sydney
2007 Critical Curatorial Lab Participant, Power Plant Art Gallery, University of Toronto, Toronto
2002 – 2006 Assistant Art Instructor, Newmarket Public Library, York Region

AWARDS, GRANTS, and HONOURS

2008 Technology Grant, Ministry of Training, Colleges and Universities
Grade Point Distinction, University of New South Wales
2007 Khaki University and Y.M.C.A. Memorial Scholarship
Artist Grants and Sponsorship Scheme, College of Fine Arts, University of New South Wales
Ontario International Education Opportunity Scholarship
International Exchange Grant, University of Toronto