Allyson Clay works

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Digitized works of SFU Contemporary Arts professor Allyson Clay. The works include artworks on paper, paintings, mock-ups and sketches for projects, chapbooks, special projects for journals, catalogues, essays in books, sketchbook pages and journal excerpts, and objects that resulted from the process of making art. The works are in this collection and in the following sub-collections.

Lure, Installation View.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image

Lure, Installation View.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image

Study for "Even Afterward".

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image

Eye to Eye.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

File(s): 

A Blazing Fire.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image
File(s): 

She Shuddered.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image
File(s): 

Even Afterward.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1988
Abstract: 

In addition to being an artist’s book, Lure is also an exhibition at Artspeak gallery in 1988. Four lusciously painted, black and white hard-edged abstract paintings are installed facing four texts. In this way a dialogue and a dichotomy is set up between the images and the texts. 

Document type: 
Image
File(s): 

Danger.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1993
Abstract: 

The paintings in Allyson Clay’s series "Some places in the world a woman could walk" combine abstraction, photo silkscreen, and text to describe the experiences of women in the city. The works call up Baudelaire’s idea of the flâneur; far from being detached observers, Clay’s flâneuses reflect on their relationship to others and to public spaces. In each diptych text divulges the experiences, predilections and desires of individual women as they navigate public and private spaces within the dispassionate setting of the city. For example, in “Routines” a woman is transformed by the fiction she is reading and this leads inexplicably to an ordinary work promotion. Clay’s texts often evoke the gaze, the awareness of being looked at, and the understanding that bodies are vulnerable. For example, in “Danger” the text suggests vulnerability, but it is complicated by a perverse irony: “I begin to enjoy the presence of danger.” While photography shows us people and places, it is nevertheless soft and even out of focus. This strategy appropriately expresses uncertainty about the exact locations and enriches the fragmentary and ludic quality of the narratives.  Abstract painting is also used strategically to evoke psychological states commensurate with the narratives, although indefinable. 

File(s): 

Routines.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1993
Abstract: 

The paintings in Allyson Clay’s series "Some places in the world a woman could walk" combine abstraction, photo silkscreen, and text to describe the experiences of women in the city. The works call up Baudelaire’s idea of the flâneur; far from being detached observers, Clay’s flâneuses reflect on their relationship to others and to public spaces. In each diptych text divulges the experiences, predilections and desires of individual women as they navigate public and private spaces within the dispassionate setting of the city. For example, in “Routines” a woman is transformed by the fiction she is reading and this leads inexplicably to an ordinary work promotion. Clay’s texts often evoke the gaze, the awareness of being looked at, and the understanding that bodies are vulnerable. For example, in “Danger” the text suggests vulnerability, but it is complicated by a perverse irony: “I begin to enjoy the presence of danger.” While photography shows us people and places, it is nevertheless soft and even out of focus. This strategy appropriately expresses uncertainty about the exact locations and enriches the fragmentary and ludic quality of the narratives.  Abstract painting is also used strategically to evoke psychological states commensurate with the narratives, although indefinable. 

Document type: 
Image
File(s): 

Regina.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1993
Abstract: 

The paintings in Allyson Clay’s series "Some places in the world a woman could walk" combine abstraction, photo silkscreen, and text to describe the experiences of women in the city. The works call up Baudelaire’s idea of the flâneur; far from being detached observers, Clay’s flâneuses reflect on their relationship to others and to public spaces. In each diptych text divulges the experiences, predilections and desires of individual women as they navigate public and private spaces within the dispassionate setting of the city. For example, in “Routines” a woman is transformed by the fiction she is reading and this leads inexplicably to an ordinary work promotion. Clay’s texts often evoke the gaze, the awareness of being looked at, and the understanding that bodies are vulnerable. For example, in “Danger” the text suggests vulnerability, but it is complicated by a perverse irony: “I begin to enjoy the presence of danger.” While photography shows us people and places, it is nevertheless soft and even out of focus. This strategy appropriately expresses uncertainty about the exact locations and enriches the fragmentary and ludic quality of the narratives.  Abstract painting is also used strategically to evoke psychological states commensurate with the narratives, although indefinable. 

Document type: 
Image
File(s):