At first there was primitive animal husbandry, then there was agriculture, followed  millennia later by industry and technology..... from the Telequine series (formerly called Roam)..... this is the animal husbandry of technology - to breed, tame, utilize, enjoy and profit from an insidious beast. Who works for whom? With homage to the “Brick” (Motorola's DynaTAC 8000), the works of Fredric Remington and his wild west and the bull of Wall Street.

Former Canadian Olympic Swimmer Brent Hayden: "It's been tough because you are going from looking at knowing exactly what you are going to do for the next four years, every single day, to suddenly not knowing what you are going to do when you wake up."

His passion for photography started in high school - mentally the athlete used photography as an escape. "If you have a bad day at training, its good to shut that part of your mind off, and photography helped me do that."

There are some parallels to swimming: "Photography in that sense was sort of the same thing, because no matter how good I thought I was, there was always mounds more that I could learn.... You can really push the limits of photography further and further..... To create something that you can’t actually see.... That is why I like going into these minimalist landscapes with long exposure effects."

Works of Erik Whittaker from the FOM Workshop

Vancouver East Side Culture Crawl 2014

November 20-21 5-11pm, November 22-23 11am-6pm (extended for viewings by appointment)

the Conference Call, Bronze, 2014

Socio-Economic Incentive Cycle 25, Mixed media found objects, Coin activated zoetrope and gerbil wheel driven by HO scale train, 2014 (work in progress)

What does one do with their old toy train set as an adult in their small, urban, neo-modern, stark-white urban condo where there is no available floor space for even a circle?     ANSWER: hang it on the wall as a gerbil wheel.

Isn’t spare wall space the exclusive domain of art?     ANSWER: have your train turned into art. The train turns a wheel which is a zoetrope and plays a custom audio record as it passes an artful landscape; all of which can be customized to your own life’s needs.

Isn’t art expensive?     ANSWER: the device is coin operated so it will eventually pay for itself.


Original Works - September 18th-20th 10AM-5PM

see her show at the


602 E. Hastings Street, Vancouver, BC

Diary of a Leitmotif: lines, contemplations and vibrations

Curated by filmmaker Ann Marie Fleming

Thursday, September 13 6-8PM

Artist in Attendance

Exhibition continues until October 6, 2018

Previously at FOM

Back Gallery Project (Vancouver, BC), is thrilled to announce the solo exhibition of Australian-born, Berlin-based composer, actor, and artist Deborah Wargon. Her multidisciplinary background is readily apparent in her new paper sculptures. Whether hung on the wall like a self-contained floating image, or presented like archived insects in entomological display drawers from the Natural History Museum, Berlin, Wargon’s delicate black paper cut-outs narrate the lyrical trajectory of time, ancestry, sexuality, and the subconscious contained and preserved in the form of a personal composition. The interplay of the formal, structural scaffolds of notation and the melodic movements of lines and figures is both striking and symphonic, and converts the exhibition space into a visualization of leitmotifs from an underlying score.

Presented by BGP and curated by filmmaker Ann Marie Fleming, Diary of a Leitmotif experiments with the architectural elements of musical composition while exploring the intersectional qualities of time, space, tradition, gender, and the subconscious. Fleming, a long-time friend and advocate of Wargon, noted, “I think what connects us is this forming and reforming, and always coming back to the same thing- often the self, but the big self -the one we are all a part of. [...] Here are ideas, cut and drawn, boxed and pinned and hung on a wall. But these ideas are free, and if you unpinned them, they would simply fly. Like a poem.” Endeavouring to capture fleeting ideas in a manner that is at once observable and pays homage to their transitory nature, Wargon’s work exists as a referent to noncorporeal sounds, feelings, and modes of understanding.

Ann Marie Fleming met Deborah Wargon while they were artists in residence at the Akademie Schloss Solitude outside of Stuttgart, Germany. Wargon had just returned from Israel and was creating, directing, and designing a theatre piece to be performed at the Akademie, while Ann Marie was making multi-media installations exploring ideas of cross-culturalism, gender, and space. They struck up a friendship based on mutual curiosity and inquiry that has continued to this day.

Deborah Wargon received her Diploma of Arts with a major in Music in 1984 from the Victorian College of the Arts, Melbourne, Australia. She then completed Post Graduate Studies in Violin at Tel Aviv University, Israel in 1987. This was followed by a scholarship from the Akademie Schloss Solitude Stuttgart and a Master of Arts with Distinction in Scenography at Central St. Martins College of Art and Design, London and Hogeschool voor de Kunsten, Utrecht, The Netherlands in 2000. As a visual artist, Wargon has participated in numerous solo and group exhibitions at international museums and galleries including The Jewish Museum (Berlin), Alexander Ochs Private (Berlin), another vacant space (Berlin), Künstlerverein Malkasten (Düsseldorf), Haus am Lützowplatz (Berlin), The Lab (San Francisco), Gallery 4 (Tel Aviv), and Studio ra. Contemporanea (Rome). In addition to a number of private collections, her work is also held in the collections of the Jewish Museum, Berlin and The DeKaBank 21st Century Collection.

Back Gallery Project
602 E. Hastings Street, Vancouver, BC