Taryn Sheppard
A_Total Fabrication
Taryn Sheppard’s work explores architecture and the perception of space in the context of digital culture. She is interested in the subliminal influence of the digital on our perception of space and uses digital-to-analog processes to explore this relationship. Her work includes oil paintings based on computer rendering, robotic drawing, ceramic printing and other digital fabrication techniques.
Taryn Sheppard’s thesis work ‘A_Total Fabrication’ explores the deeper meaning of the formal language of architecture and its’ effect on the perception of our built environment. This installation looks at the visual language of postmodern institutional architecture and recontextualizes elements like volume, texture, and material into a surreal ‘room’. These architectural elements have been put through a process of mediation from digital to analog which highlights the faultiness of memory and creates questions about our perception of reality in the context of digital culture.
The installation is composed of three elements:
- ‘A Total Fabrication’ (Painting), 80″x48″, Oil on Wood Panel, 2020.
- ‘Glass Blocks’, Approx. 10’x10’x8′, Ink on Vellum, 2020.
- ‘Pink Granite’, Approx. 12’x20′, Found Nylon Carpet, Acrylic.
Other Works
Below: Exhibition of work as part of ‘KAIROS’ Interim Graduate show at Micheal O’Brien Exhibition Commons, September 2019.
- A Space Modelled From Memory One, 48″ x 48″ Oil on Wood Panel, 2019.
- A Space Modelled From Memory Two, 48″ x 48″ Oil on Wood Panel, 2019.
- A Space Modelled From Memory Three, 60″ x 60″ Oil on Wood Panel, 2019.
- Porcelain House, 3D Printed Porcelain, 2019.
Below Left: ‘Hollow’, 36″ x 48″, Oil on Wood Panel, 2019.
Below Right: ‘Threshold’, 80″ x 58″, Watercolour Ink on Paper, 2019.
About
Taryn Sheppard is a Vancouver based artist and architect. She is a graduate of the University of Toronto (Master in Architecture, ‘10) and Nova Scotia College of Art and Design University (Bachelor of Fine Arts, ‘05).
She is a cofounder of Woodford Sheppard Architecture based in her home province of Newfoundland & Labrador, who have completed numerous award winning projects in the coastal Atlantic region and have been published in international magazines including Dezeen and The Globe and Mail Arts.
Taryn has contributed critical writing on the built environment to a variety of publications including Canadian Architect, Riddle Fence Arts Journal and The Scope Arts Magazine. She has been a guest lecturer at a variety of conferences and universities and an advising member on a variety of boards and associations in Canada, including the Canada Council For the Arts, the Newfoundland & Labrador Association of Architects and the City of St. John’s Heritage Advisory Board.
Taryn is currently establishing her studio practice in Vancouver with a research focus on architecture and digital culture, and is conducting research in digital fabrication with the Material Matters Research Centre at ECUAD.
Figments, Filaments, and Pigments | Emma H. Baldwin
Ch-ch-changes
Ch-ch-changes
A body of work that is moving away from paper, watercolour, and graduate school and into the personal, three dimensional, and the even more breakable.
Milking in the Bones
Fine Rise
A Second Child
Egg Eye Cage
A First Child
The Ecosphere– A Fantastical Exploration
The Meat People | Jan Appel
Artist Statement
Through the medium of paint and collage aesthetics, Jan Appel investigates thematic questions on daydreaming, the imagination and life itself. The Meat People is an amalgamation of world inspired by myths as well as mythological figures depicting imagined moments and narratives of fictional scenarios. Through materiality, storytelling, process and world building, Appel navigates his relationship with mortality, impermanence and what it means to live within and through human experience.
Painting the View From My Doorstep | Maggee Day
Through my experimental process, I am exploring the various ways I can see the space in front of my apartment building, and therefore— the various ways this space can be represented through paint. The doorstep is the location where my exploration starts; it is a catalyst to my more central subject which is the space of perception. This location allows me to see the familiar as strange, while reevaluating how I construct a representational painting.
A rule I created in my process is that every painting must change its order of procedures and materials. I want to highlight all the different choices that a painter can make when they approach a subject, and furthermore find connections and divisions between processes in art history and contemporary painting. When I approach my subject I have a choice to capture the visual information in a photograph, or through plein air painting/sketching— afterwards I have a plethora of different possibilities. I am interested in disrupting the illusion of painting by throwing wrenches into my process. These wrenches include translating information from one medium to another, layering images wet on wet, rotating the canvas, and spilling paint.
This process of decisions and accidents open up a slippage between what we do and what we think— paint follows the artist’s body and emotions, but the artist also follows the paint. The doorstep gets pulled apart into abstract colours and shapes that hold information and suggest a logic to three dimensional space and objects within it. Although many of the initial elements are there, they are now open to be rethought and renegotiated because they have not been resolved as what we traditionally look for as being landscape. These incongruities allow me to retrospectively learn more about the relationships between seeing and abstraction, representation and perception— as well as, the material potential of paint.
This project received an Honourable Mention for the Opus Art Supplies Graduation Award (MFA)
www.maggeeday.com
Doorstep View 7 | Oil on Canvas 60"x72"
Doorstep View 7 | Oil on Canvas 72"x 96"
Doorstep View 4 | Oil on Canvas 60"x 72"
Doorstep View 3 | Oil on Canvas 60"x72"
