UN/making the Frame by Jill Price
About the exhibit
Celebrating the power of the readymade and art as process, Jill Price’s interactive exhibition UN/making the Frame draws attention to the “liveliness” and value of everyday objects while considering how frames and their frameworks often control or limit one’s perception and use of “things.”
This exhibition is supported by the Social Sciences and Humanities Research Council.
- Nov. 3 to Dec. 4 during gallery hours
- Nov. 3 from 6 to 9 p.m.
- Nov. 22 at 10 a.m.
Frames have existed since the 2nd century B.C. when borders were found drawn around Etruscan cave paintings. Ever since, people have been searching for the “proper” way to display and protect their art, with some even arguing that art is not finished until it has been surrounded by the perfect combination of stained wood, non-reflective glass, metallic accents or carved details.
UN/making the Frame, an extension of Jill Price’s exploration into un/making as a creative act, asks visitors to consider how frames serve as a metaphor for much larger systems and institutions that limit our perspectives, understanding, behaviours, access or movement. Also contemplating what iconography may need to be relinquished or reimagined so as to help disrupt anthropogenic outlooks and practices towards land, Price works through new materialism to illustrate how life, its objects, and then in turn art, is not flat, static or unilaterally constructed, but rather constantly shifting, sagging, spinning, folding, degrading, exploding, and perhaps even harming, in and outside of our frames of thought or sensing.
Particularly interested in how un/framing or resisting traditional frameworks can help imagine new worlds, disrupt the Eurocentric colonial gaze, and resist capitalist systems of mass production, consumption and discard that disregard more-than-human ecologies, in this exhibition Price combines her existing archive of art and ready-mades with a newly created animation and in situ drawing to create an interactive space that confronts visitors with the material excess of consumer fetishism while strategically working to dissolve, blur and abstract imagery and objects that reify linear understandings of time and space.
Starting from the contents of one illustrative painting, Price pushes the tradition of still-life, a style that ironically became popular due to the increased interest in the study of nature during the 16th century, by using methods of drawing, deconstruction and assemblage to extend the picture plane of her flat canvas into the 3D architectural space of the gallery so as to convert notions of art as noun to verb and break down structural delineations that typically define how, where, when and why objects are situated within a space. Perhaps controversially immersive, the nearly cartoony environment invites entrants, soon to be participants, to respectfully reconfigure aspects of the extended not-so-still still Ife through a series of instructional prompts that help to activate the space while also pointing to the actions and movements of humans as matter that matters.
Also working to reduce the distance between art and the everyday, Price’s combinations of reclaimed ready-mades and reconfigured artwork challenge understandings of what is to be considered detritus versus desirable, devalued versus venerated and art versus craft.
Price shares, “As William Deresuewicz says in his book The Death of the Artist, the artist no longer has a pass. Although the author is specifically speaking to how creatives and their innovative ventures and demand for studio spaces often end up gentrify geographies not their own, this exhibition aims to acknowledge and yet also slow how the visual arts contribute to the destruction of the planet artist are often so desperately to capture and protect.”
A wannabe city slicker stuck in suburban hell, Jill Price (she/ her/ they) has the utmost respect for those who sustain rural or wilder ecologies. At her best when surrounded by plants and sitting on a sunny step with a neighbourhood cat, Price is partial to beach side holidays, buttery chardonnays, spicy foods, decaf americanos and thrifting.
Able to sleep just about anywhere except beside her snoring husband, Price often dreams in colour despite being drawn to all things black and white. Easily irked by superficial conversations, religion used as justification for intolerance, weak metaphors and décor trying to pass itself off as art, Jill, more than anything, thinks the world would be a better place if education was free, the sciences and humanities were mandatory, and humans evolved from trees.
Turned on by the smell of flannels worn around the campfire, R&B music and well-dressed, funny, bald men (more specifically, Stanley Tucci and Jason Statham), Price often wonders if there is still time to pursue her love of singing or comedic writing.
Particularly interested in how matter matters and minimal visual expressions that communicate broadly and ethically, Price playfully strives to simplify and streamline what she puts out into the world.
On a more serious note, Price is an interdisciplinary Canadian artist of German, Scottish, Welsh and unknown descent, grateful to be living, working and playing in Barrie, Ontario, on the traditional territory of the Wendat Nation and Anishinaabeg people, which include the Odawa, Ojibwe, and Pottawatomi Nations collectively known as the Three Fires Confederacy. Currently in the last stages of her SSHRC PhD Research Fellowship at Queen’s University, Price achieved her BFA and B.Ed. at the University of Western Ontario and completed an MFA in Interdisciplinary Art Media and Design at OCAD University in Toronto, Ontario where she was the recipient of a 2016 SSHRC national research grant and the 2017 Michael Smith Foreign Study Bursary for her research into the ecological, social and psychological shadows of the global textile industry. Also awarded the 2017 Research and Writing Award for her thesis, Land as Archive: A Collection of Seen and Unseen Shadows, Price has also worked as an educator in fine arts at Georgian College, OCAD University, Queen’s University and offered guest lectures at Concordia University, Emily Carr, the University of Art in Porto, Portugal and the University Art Association Conferences in 2019, 2021 and 2022.
Currently represented by Westland Gallery and Blue Gallery, Price continues to explore the histories and agency of materials while investigating unmaking as a creative act.
Visit Jill Price’s website: jillpricestudios.ca
Connect on Instagram: instagram.com/jillpricestudios
About the gallery
The Campus Gallery is located within the Helen and Arch Brown Centre for Design and Visual Arts (D building, room 140) at the Barrie Campus, Georgian College, 1 Georgian Drive.
Hours of operation
- Monday to Friday from 10 a.m. to 4 p.m.
- Saturday and Sunday from noon to 4 p.m.
Please note, while masks are no longer required on campus, they are still strongly encouraged as an effective measure against the spread of COVID-19 and its variants.
For more information, please contact us.
The Campus Gallery objective and mandate is to deliver a diversity of visual to the City of Barrie, its immediate region and within the Georgian College campus community.
The exhibitions celebrate emerging, mid-career and established artists, designers and craftspersons, as well as students within post-secondary arts education. The Campus Gallery will support the exhibition objectives with informative artist lectures that will be open to the immediate community, high schools and the college community, thus creating an environment of critical thinking, insight and appreciation.
Through outreach and exchange, the Campus Gallery will host and present international exchange exhibitions and lectures as well as exhibitions of community outreach at our partner venues. We exhibit our significant collection and bring visual arts to distinctly different audiences, facilitating and encouraging a dialogue and awareness of the arts in our community.
The Campus Gallery is committed to delivering a diverse program of exhibitions by visual artists, designers and crafts people to the Barrie and the Simcoe County arts community. A policy of inclusivity guides our programming, giving equal voice to emerging, mid career and senior artist with diverse practices.
The gallery space allows artists to realize special projects, surveys or retrospectives, and to see large groups of work together in an excellent facility, sometimes for the first time.
We are committed to furthering the knowledge of contemporary practice to the community with our on going artist lecture series, which has consistently featured insightful dialogue form the frontlines of creativity by exceptional regional, national and international artists.
The Campus Gallery identifies its exhibition roster three years in advance and books its artist lecture series on a yearly basis. We provide a diversity of visual arts programming to the community and continue to foster an environment of learning, engagement and dialogue in the visual arts which is only available in one other Barrie location.
The Campus Gallery provides a laboratory space for our Museum and Gallery Studies graduate certificate students to engage with artists, the campus collection, and to develop programming in locations outside of the gallery, based on the Campus Gallery Collection. This offsite programming allows us to bring unique, contemporary art to an even more diverse audience, creating another level of dialogue, awareness and engagement.
Over the past years, we have partnered with the Royal Victoria Hospital (RVH), Five Points Theatre (formerly The Mady Centre for the Performing Arts) and the Barrie Courthouse to create exhibition space and thoughtful, unique programming from some of over 2,500 works in the Campus Gallery collection.
If you have questions or require more information, please contact us.
Campus Gallery Director