Detours and Dislocations - Liverpool /Isle of Man / Vancouver: In the Footsteps of Malcolm Lowry
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Detours and Dislocations Exhibition ...
Detours and Dislocations: ...
AffiliationUniversity of Chester
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AbstractAn exhibition of artworks by Cian Quayle at the Williamson Art Gallery and Museum, July 7 - August 26, 2018. The installation included a neon artwork/text, a 1/50 scale model, photographs, a lightbox mounted transparency, single channel video, loaned artworks (Chris John Symes and George Cuitt), hand-made photographs from glass plate negatives and an automated 35 mm carousel, slide-projection. The research triangulates, Wirral born author of Under the Volcano (1947), Malcolm Lowry's relationship with Liverpool, the Isle of Man and Vancouver as the basis of a psychogeographic encounter with places and sites of habitation, which held significance for Lowry's life and writing. The exhibition formed part of IB 18 (Independents Biennial) and was exhibited in conjunction with 'Tom Wood: Cammell Laird Shipyard 1993 - 1996'.
CitationQuayle, C. (2018). Detours and Dislocations: Liverpool/Isle of Man/Vancouver - In the Footsteps of Malcolm Lowry [Exhibition]. Exhibited at the Williamson Art Gallery and Museum July 7-August 26 2018.
PublisherWilliamson Art Gallery and Museum
DescriptionThis exhibition is part of an ongoing body of work which references Malcolm Lowry's life and writing as a point of departure for Quayle's encounters with places, landscape and dwelling spaces which were significant for the life and writing of Malcolm Lowry, who was born in New Brighton in 1909. Lowry's formative experience and life-long interest in the sea was framed by his love hate relationship with Liverpool his adopted city. Lowry visited the Isle of Man twice as a child with his family and upon moving to Vancouver in 1941 was befriended by a retired Manx boat builder named Jimmy Craige. Lowry lived in a 'squatters shack' on the shoreline of the Burrard Inlet near Dollarton, North Vancouver. Quayle's artworks connect the topography and histories, which background Lowry's writing in relation to contemporary narratives based on the artist's response to the same or other locations encountered as part of a process predicated on travel and journeys. The indigenous, cultural and environmental context is manifest in Quayle's visit to Camp Cloud, a road-side encampment-based protest (opposing the trans mountain pipeline) on Burnaby Mountain, at the entrance of the Shellburn Oil refinery, which sat opposite Lowry's shack.
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