Steve Hubert and Nick Matranga
Friday, July 7–Saturday, August 5, 2006
The combination of rationalism (to think that something is singularly what you know it to be) and the process of finding a plurality of meanings serves to illustrate, within Hubert’s works, how the simplicity of making, saying, or doing can bring truth. It is this process of free-association that creates a never-ending, pointless search that often returns right to where it has started. Hubert follows the confusion inherent within the philosophical conundrum and utilizes the circular logic in his works for this exhibition, including a site-specific spatial intervention.
While Hubert is crafty and candid, Nick Matranga is primarily concerned with the irony inherent to visual, geometric puns, which, like their linguistic equivalent, come to rest on a repetition that achieves no conceivable end. His work, which encompasses elements of painting and graphic design, the sculptural and pictorial, finds inspiration in the successes and failures of linear structures—defined by their reliance on starting and ending points. Without ever fully setting sights on creating precise optical illusion, Matranga’s designs function to diagram our mental processes, and encapsulate the phenomenological moments within.
STEVE HUBERT will be entering his fourth year at the Emily Carr Institute. His practice relies heavily upon the creation and methods of dissemination of narrative, particularly within the idea of New Historicism. Taking specific account the time and situation in which a work is produced is of utmost importance.
NICK MATRANGA, also an upcoming fourth year student, has been heavily involved in the painting department within the institute. His works continually revolve around the buildup of histories and movements within the medium, most notably the Neo-Geo and the Op Art sects.