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.

Getaway.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Paper Boats.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Tactics.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Connection.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

A Helping Hand.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Encounter.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

A New City.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Encouraging Advice.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Traveler.

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Date created: 
1990
Abstract: 

Allyson Clay’s "Traces of a City in the Spaces Between Some People" is a series of twenty diptychs contrasting fabricated faux finishing with expressionist painting and text. The fabricated paint applications evoke city surfaces like concrete and granite; they also evoke modernist painting.  Unlike modernist painting, however, the faux surfaces are decorative and mechanically painted. The choice to have the surfaces fabricated serves to disrupt the egoism of modern abstraction and the importance of the aura in art. By contrast, next to the fabricated surfaces are hand-painted, expressionist images of moody skies. Silkscreen texts are superimposed on the skies and reveal personal narratives and conversations. Although these works were made before the influx of social networking and blogging, Clay’s texts are like fragments of conversations culled from the world. The content of the personal narratives and conversations includes an array of subjective, often emotional, experiences about daily life. For example, in “Tactics” a woman panics about encountering a man on a city street and the ensuing feeling of vulnerability; conversely, the narrator in “Vista” is a voyeur and takes pleasure in that transgression. Realms of private thoughts and embodied experiences are made public on Clay’s canvases and serve to complicate the conventions and precincts of modern painting.

Document type: 
Image
File(s): 

Lure.

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

"Lure" is an artist’s book by Allyson Clay with four texts accompanied by four black and white plans for paintings.  The texts give detailed and technical instructions on how to construct conventional hard-edged abstract paintings. The instructions, however, are interspersed with words and passages of a narrative and subjective quality. The seriousness of making the abstract paintings is undercut by the textual intervention; however, the intervening text is also serious since it is assertive, emotional, and elevates the subjectivity of the artist in contrast to an ossified tradition of painting. 

Document type: 
Book
File(s):