Ongoing series. Inkjet prints mounted to aluminium, sizes variable. / Série continue. Impressions à jet-d’encre montées sur panneaux d’aluminium, dimensions variables.
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Three slide projectors blend, at random, slides from my father’s archive from when he was travelling across Canada 45 years ago working on the railway, and my own slides from current visits to the same locations in the Rockies and the Canadian and US Western coast. The newly formed images are composed by chance and then photographed, offering prescient insights into our future lands as they transform from the shifting climate.
Ongoing series. Inkjet print on Epson lustre paper, 34” x 34” framed in colored maple / Série continue. Impressions à jet-d’encre sur papier Epson lustré, 34 po x 34 po.
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Three slide projectors blend, at random, slides from my father’s archive from when he was travelling across Canada 45 years ago working on the railway, and my own slides from current visits to the same locations in the Rockies and the Canadian and US Western coast. The newly formed images are composed by chance and then photographed, offering prescient insights into our future lands as they transform from the shifting climate.
"Opérant une sédimentation de mémoires et des espaces-temps, Annie Briard présente une série de paysages couleur ; In Possible Lands (2020) questionne la délimitation intangible entre le réel et l’imaginaire par des images composites (prises à des moments différents, mais dans le même espace). L’artiste revisite le patrimoine photographique de son père, constitué principalement de paysages canadiens des années 1980, en y superposant ses propres clichés des mêmes lieux. Compression d’empreintes paysagères apparemment majestueuses, gardant pourtant trace d’une nette altération provoquée par l’action humaine."
-- Elizabeth Recurt, Vie des Arts
34” x 34” inkjet on lustre paper, framed in magenta.
inkjet on lustre paper 34” x 34”
inkjet on lustre paper 34” x 34”
Inkjet prints on silk, 50” x 50”, view at Deluge Contemporary Gallery, Victoria.
monumental mural double-sided translucent vinyl, commission for Art Souterrain, Place Victoria, Montreal.
Full spectrum color-changing inkjet print photographs. Ongoing series. / Impressions photographiques à jet d’encre changeant de couleur. Série continue.
Horizon RGB are light boxes that compare natural and artificial light in full spectrum while exploring horizon gradients.
“Briard’s Horizon RGB is a Rothkoesque inkjet landscape set in a colour-changing light box that presents the ways in which our experience of light affects our perception of the environment” - Maya Wilson-Sanchez, Canadian Art magazine
"Annie's work explores what we perceive as real while drawing a parallel between the artificial and natural. Her works often includes technology and optical illusion elements much like a magician who forces us to rethink what is that we have in front of us."
- Monica Reyes, Director/Curator, Monica Reyes Gallery
Video demo of light cycle here
Series of 9 inkjet prints on rag paper / série de 9 impressions à jet d’encre sur papier d’aquarelle
“The landscape as an artform is rife with heavy baggage accumulated over centuries. As a media artist and photographer, I regularly make use of landscapes in order to talk about our misperception of the world around us, to question the function of visual perception and light, and also to discuss humanity’s impact on the environment. Through regular road trips and long-haul backpacking hikes, I immerse myself in the land in order to spark inspiration for new projects. There is a problematic nature to landscape photography (and painting) however, upon which Landscapes and Propaganda reflects.”
— excerpted from Language and Propaganda, ed. The Perceiving Eye, 2020.
This series was shot on residency at SIM in Reykjavik, Iceland, with support from the Canada Council for the Arts.
inkjet print on backlit film, custom color-changing, 16" x 16" x 2.5", 2019
Alchemy of Waves are color-changing light boxes that slowly shift landscape photographs and their light rays through the full color spectrum, confronting us with the ways in which our fragile perception of light transforms our experience of the world around us.
L’alchimie des ondes sont des boîtes lumineuses changeant de couleur et menant des paysages photographiques à travers le spectre chromatique complet. Par l’entremise de ces œuvres, nous sommes mis en confrontation avec la fragilité de notre perception de la lumière et de la façon dont celle-ci transforme notre expérience du monde.
Inkjet on metallic paper / Impressions à jet-d’encre sur papier métallique.
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In the not so distant past, there was a beautifully poetic vision theory that proclaimed the eye to contain a small crystal, carefully shaping the light so that it may bring us illumination.
Much is still left to our imagination when determining whether what we see is actually there. Like emitters, our eyes seem to create parts of what we perceive; one need only look for the blind spots in the centre of their sightline or the colourful afterimages orchestrated by the brain. Much like crystals indeed, our eyes mediate light and what we see.
The series Paracosms was initiated during a residency on the southern coast of Spain.
:: Supported by the Canada Council for the Arts
Digital C-print. Impression numérique chromogène.
28” x 28” / 71 cm x 71 cm Series of 3D anaglyph prints.
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Re-envisioning vision. Exploring the boundaries between the physical and the imagined, the perceived, and the misperceived. Constructions uses landscapes as structures through which to investigate and pull apart these territories of sight.
I create these stereoscopic photographs from backpacking trips to investigate our inability to accurately grasp the world. These images confront us with paradoxical vision. First, there is the flat, colorful image of a wondrous place. Then, with glasses on, there is red, or blue, if one eye is shut. The combined 3D image shows a fourth perspective where the scene’s planes appear to jut outwards or recede behind the photographic surface. There are others if the eyes focus on the geometric symbols pointing to where the construct breaks down. An image can be perceived in many ways.
Series of inkjet prints on metallic paper. Série d'impressions à jet d'encre sur papier métallique. 2015-16
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Stranger Memories questions the phenomenological and neurological processes behind memory, the attempts to capture our memories, and our inability to accurately share them.
Formed through technical experimentation across film and digital cameras, the series begins with old 16mm film footage of strangers’ home movies which have been digitized to video. Home movies may be the closest tangible representation of memory we have. Their movement and ephemerality share similarities with how we encounter memories in our mind’s eye. The moment one frame has passed and moved onto the next, what we have seen in turn becomes part of our memory, which we must rely upon in order to follow - to create - the narrative. Of all the home movies viewed in researching this project, it was found that all such captured memories are uncannily similar, falling into one of only a dozen or so categories. A stranger’s memories at times seem indistinguishable from mine.
Using a long exposure, I photograph moments of these time-based representations of memories to present them in a single image. The time span contained within each image is of one minute. The resulting print is eerie and nostalgic; dark, blurred vision. Like that of remembrance, these images defy solid gaze. The still rivalling movement becomes an incoherent narrative producing affect instead of answers. It may, however, be memory’s most accurate representation.
Inkjet on 190lbs rag paper, series of 18, edition of 3, 2013.
