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2010.06.12 Ibuki Keiretsu 11Shoto3.5oKunai (Breathe System 11 Short 3.5 Indoor)
Ibuki Keiretsu 11Shoto3.5oKunai - TNW, 2010 welded steel, powder coated 8.5”x4.5”x4.5” A finished piece in the new series.
2010.06.09 Alice in Wonderland
The first full size Alice in Wonderland piece in situ. Ottawa Ontario 2009 Finally settled in to the new home at studio 666, the smaller potted plant size pieces are nearly ready for powder coating as well.
2008.08.20 I am ecstatic to announce that ten of my new paintings created in Montreal are currently on display and for sale at the new Griffintown Cafe. 1378 Notre Dame Ouest, Montreal QC.
With face lift complete, menu overhauled, and under new ownershiph, the Griff is better than ever. Saturday and Sunday brunch should definitely temp you. Or head on down for the best blues Montreal has to offer every Friday night from 6pm onwards when Bharath and his Rhythm Four play. This is my first show in Montreal, and I hope you all get a chance to check out the new works!
2008.04.02 This month several of my paintings are for sale as a part of the annual group exhibition "U8" at Sopa Fine Arts in Kelowna. Please consider this an invitation to drop in if you're in the area. As the title implies all of the works are under 800 dollars, and perhaps as a direct result I understand the opening night is a very exciting affair!
2007.04.29 To quote their site, "Magnum Opus (masterpiece) is a new project devoted to promoting emerging visual artists in Canada." My piece and a little write up is on page 23 of the current edition April/May 2007. It is available for download, or at select locations across Canada. It's looking like a great little publication, so check it out if you get the chance.
2007.02.23 Dysfunctonal Clothing Collection on Glamwire.com
Here is a little review of The Dysfunctional Clothing Collection on fashion blog Glamwire.com. 2006.12.06 Plattsburgh State Art Museum of New York
The Embrace: When Worlds Collide, 2005, Plattsburgh NY Created at Franconia Sculpture Park in 2005, The Embrace: When Worlds Collide has found a permanent home at Plattsburgh State Art Museum of New York. The sculpture park is integrated nicely with the grounds of the State University of New York, and my piece gets to hang-out right outside the large library windows. I am honoured to be in such good company there, so you might just go to see the work by Andrew Dunnill, Roy Mills, Don Osborn, Jon Isherwood, Harry Gordon, Shaun Cassidy...etc if you're in the neighbourhood! The permanent collection can be viewed here.
The installation went very well with extra special thanks due to John Hock, SUNY, and Drew Goerlitz.
The view from the library.
An invitation to exhibit at Art in the Hangar VII July 21-23, 2006 in Edmonton turned into the event of the summer for me this year. The fantastic hospitality and organization shown by Patrick Jacob made the event happen and my time getting the sculptures ready so much easier. The steamy Friday night opening saw a packed house despite the fact that the temperature hit 30 degrees C at 5 pm. The next two days would reach 32 and 33C, and the Grand Prix went ahead without a hitch across the airport tarmac. It was truly a pleasure meeting and getting to know some of the other exhibiting artists who included Robert Dmytruk, Alan Henderson, Patrick Jacob, Mary Joyce, Linda Maines, Sharon Moore-Foster, and Tessa Nunn. Thanks to everyone who made it out to see the exhibition and show their support. I don't get to see you all very much-some of you made great efforts to get to this show! You know who you are-and it always means the world to me. Ha Ha! I could actually make a list in regards to that one! You are all welcome out here in Montreal anytime. Special thanks to Robert and Mary for the red wine and ice cream served up with insight and laughter. There is a
new gallery of images from the show. 2006.04.13
Recently I had the opportunity to visit with Anthony Caro at his London studio. It was a great time inside the belly of the beast, so to speak, seeing the many works in progress at various stages and meeting the cast of diligent assistants. The warm hospitality Tony and Pat provided was excellent, and the experience was easily the highlight of my London trip. 2005.11.02 Franconia Sculpture Park just outside Minneapolis MN., is home to my recent large-scale sculpture. I spent the months of May-September at FSP, working and living with some truly inspirational people to create my most ambitious work to date. The passion about sculpture that exists with the people at “the Park” makes it a challenging and vital place to create work. Diverse opinions and experiences from young artists and important mentors from all over the world are brought together in this unique environment. I feel so privileged to be a part of the FSP experience this summer of 2005. This fantastic opportunity was introduced to me by Royden Mills, to whom I am extremely grateful. I would also like to acknowledge the generous support of the Alberta Foundation for the Arts who made the endeavour financially possible.
The two pieces, installed in tandem, are called “The Embrace:When Worlds Collide”(steel, 2005, 10’7” X 10’2” X 8’2” & 10’3” X 9’10” X 9’) Also, there is a site of Minnesota artists and artwork called mnartists.org, run by V.A.C.U.M. (Visual Arts Critics Union of Minnesota ) on which I have posted a page of my work. The Edmonton Contemporary Artists Society 13th Annual Painting and Sculpture Exhibit This year I was invited to be a guest artist in the ECAS show in Edmonton. The Great West Saddlery Building played host to the event in which many of my peers and mentors participated. Lean To (steel, 2005) was my contribution to the exhibition, which ran Oct 8th-29th. Greenpeace Again this year I was pleased
to participate in the Sacred Voice Gallery’s
Benefit Exhibition for Greenpeace. The event took place
at the Junction Arts Festival in Toronto Sept 9-11. Included
were two new works I created at Franconia Sculpture
Park this summer: Nog
Het Leven: Kap Van Staal (steel, cast iron, 2005)
and Blue
Ribbon (cast iron, 2005) By all accounts it was a
great success! Thanks to John Wiles for the invitation
to participate. 2005.10.19 Tanya is featured in this month's issue of Ottawa Life Magazine. A PDF copy of the article as printed can be downloaded here. 2005.05.05 First I would like to express my gratitude for the widespread support I have received over the past few months. It has been a very busy year thus far and will continue to be. The Dysfunctional Clothing Collection site has been further updated to include the prices of the pieces and a video compilation of the two performances. Anyone wishing to purchase the dresses can contact me by email. I am departing for Franconia
Sculpture Park in Minnesota this week. No doubt it
will be a great opportunity to make some large scale sculpture
amongst a fantastic group of peers and mentors. Upon my
return in late summer, I will update the site on the experience
and the work created. Canar On the painting front, I have two new venues to announce. Modern Granite and Marble’s showroom is displaying for sale several of my Nine Grounds series paintings. www.moderngranite.com
This is a new wine bar in Oliver Square Edmonton. They are playing host to a selection of my paintings for the summer. They also have an incredible selection of the finest grape derived beverages for those looking for a nice night out. Special thanks to Dave Callan for the
opportunities and support. 2005.03.22
The Dysfunctional Clothing Collection Dance Presentation site is launched; click above! It has been my extreme pleasure to work with all involved. Special thanks must go to the twenty fantastic dancers who put their hearts and souls into this piece. Words cannot express how proud I was to share this experience with all of you. From Orchesis Dance Group 5 enthusiastic and talented dancer/choreographers: Ariana Barer, Gisele Boisvert, Michalene Glessing, Kristina Lemieux, and Kealy Zachow. Also from Orchesis Dance Group, twelve dedicated and talented dancers. Megan Brooks, Fabi de Pina Jenkins, Tricia Huot, MyVahna Ishaq, Sara Martin, Allison Murch, Sarah Pelletier, Pauline Sasano, Pam Schmunk, Kim Smith, Elizabeth Speers, and Deanne Underwood. And the fabulous and talented outsiders from West Edmonton Ballet dancer/choreographers Kelsey McMahon, and Cloe Whittaker, and from Ballet North dancer/choreographer Jenn Ross. Thank you all for your creative contributions and for sharing your inspired visions with me. It was your individuality and diversity that made this a logistical challenge for me and it was those same characteristics that made it a perfect success. To Kristina in particular it was your relentless organization and drive that made this performance happen! Ariana, thank you for the chance to do it all a second time! To Olga Savic and the fantastic stylists and make-up artists at Swizz Salon and Spa: Dean Carison, Tanya Friesen, Debi Young, Sheri Mann, Dave Lanary, Pamela Main, Melissa Robinson, Jessica Tebby, Shaheen Nasseri. Your contributuions put the most beautiful final touches on my project. Moving sculptures never looked so mesmerizing, dramatic and bizarre!! I know the girls felt so liberated to play their roles because of your magic. Dean Carison and Anne Meyer, thank you both for putting your faith in my work. Wil, your imagery and viusal concepts continue to amaze me! Not to mention your seemingly limitless support through the sometimes ridiculous chaos. Thanks to Night of Artists and Phil Alain for taking a chance on my strange endeavor. Thanks to Mike Tulley for the creative and mood enhancing lighting and great sound Thanks to Ric's Grill Downtown for the Cash to get in the book. An overdue credit to Radiohead for the most inspiring and seminal music, the stuff that began and carried the project, made it diverse and made it whoie. Thanks Mom for putting me behind the sewing machine so long ago, and for your very special support and encouragement. For all the supportive and encouraging feedback from those who made up the audience, I am most grateful. ___________________________________ 2005.02.28
To purchase
NOA show tickets call 1-877-888-1757 Dinner TANYA WOOD's "DYSFUNCTIONAL CLOTHING COLLECTION
DANCE PRESENTATION" With ORCHESIS DANCE GROUP ADVANCE TICKETS: $50 per person. Table of eight: $360
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Click Here, or on the Image Above to see the Ric's Grill Exhibition Gallery The three beautiful muses arrived in Dysfunctional style just in time to see the case of The Three Little Pigs resolved. Fine wine and delicious hors d'ouevres were heartily consumed in the presence of 31 of Tanya's creations ....more if you count the mobile exhibits (who consumed their fare share of the yummy libations). Overall , the extensive preparation was well worthwhile as a successful show went off without a hitch and a very good time was had by all at Ric's Grill Downtown on thursday night. Thanks must go out to Ric's Grill and staff, Pacific Wine and Spirits, Chris, Heather, Olga, Kendra, Tracey, Wil, and all who were in attendance. Thank you for a very special night.
2005.01.05 FOR IMMEDIATE RELEASE ‘Fire Arrows and Flexible Tactics’ an exhibition of the work of Tanya Wood ‘The Dysfunctional Clothing Collection’ at Night of Artists Edmonton 2005
What more appropriate way to present the mobile sculpture of these dresses than through dance. Enter the University of Alberta’s Orchesis Dance Group and guests. A 30 minute performance at Night of Artists’ March 18th, 2005 Edmonton exhibition will present the unique vision of Tanya Wood and 20 dancers and choreographers influenced by these creations. Prior to that event, the full diversity of Wood’s work will be on display in an exhibition of her own. At Ric’s Grill in downtown Edmonton on February 24th will be displayed steel sculpture (including the exhibition’s title piece, ‘Fire Arrows and Flexible Tactics’), painting (including pieces from the ‘Nine Grounds’ series exhibited in Toronto at the Junction Arts Festival as part of the Sacred Voice Gallery’s exhibition for Greenpeace), mixed media assemblage (including pieces from Wood’s Ottawa exhibitions of ‘Sometimes the Rent is Due’), as well as three models sporting dress creations to be showcased at the Night of Artists event. Both of these events offer excellent opportunities to appreciate and explore the diversity and beauty of the work of this unique Canadian talent. Ric’s Grill contact Info: (780) 429-4333 | www.ricsgrilldowntown.com Night of Artists contact
Info:
www.nightofartists.com 2004.09.01 News, news, news. The latest update for steelchick.com is the advent of two new galleries. The "Nine Grounds" gallery houses the images of my most recent paintings. This series is titled for Sun Tzu's Art of War section of the same name. You can draw your own parallels about the content. Also I am grateful to be able to exhibit two of these works in the Sacred Voice Gallery's Benefit Exhibition for Greenpeace, 2004 in Toronto this 11-12th of September. And...The newest pieces in the Dysfunctional Clothing Collection are making their first web appearance on the WHAT page. You can see them in 360 degrees this time. Ooh, bien sur. For anyone who cares, the next update may include a real life real time showing of the Dysfunctional Clothing Collection. This will Likely take place in Edmonton Alberta...conservative redneck capital of the universe...I'll apologize in advance. Sorry. Other notes of major and minor importance include an incredibly sincere "thanks-man" to Mr. Richardson for his genius in renovating and maintaining my site, and a heartfelt "thanks-sis" for enduring the grueling conditions of a midsummer photo shoot on the bald-ass prarie we call home.
2003.09.13 The Dysfunctional Clothing Collection - Dysfunctional Clothing for Dysfunctional Functions This gallery, accessible from the WHAT page, displays a few of my latest diversions. I began "designing" these pieces when i got back from my travels in Europe this summer. Of the many many many wicked inspirations I got, somehow these were the first things I had to work on. The creation process was very informal, piece by piece using mostly scraps of fabric and shunning patterns and other traditional methods, and therefore I would like to think of them as experimental dress sculptures, or wearable collage. In any event (to which you could wear them), here is my first Collection. Special thanks to my fantastic Model/Sister. Any inquiries regarding the sale of these pieces can be sent to my email (on the 'where' page)
2003.09.12 Trust and Submission is appearing at the Junction Arts Festival in Toronto. September 13th and 14th, at the corner of Medland and Dundas St. West. As part of The Sacred Voice Gallery Benefit Exhibition for GreenPeace Canada 235 Medland St. 2nd Floor at Dundas St. West. 2003.02.14 Tanya is in Europe As of the 14th of February, Tanya is in Europe. 2002.12.10 "Sometimes The Rent Is Due" 'The Lookout' 4th December, 2002 to the 14th January, 2003 Opening Reception: January 8th, 2003, 8:00pm
WOMAN OF STEEL. Sculptor
Tanya Wood turns metal into art. (photo by Andrea Lewandowski)
story by Andrea Lewandowski / Capital Xtra! Dec 6 2002 There’s no such thing as junk, only things people haven’t found a use for. At least, that’s how steel sculptor Tanya Wood sees it. Wood, whose adorable blond curls and sweet face can never prepare you for the soothing huskiness of her voice, sits across from me, sucking gently on a cigarette. She’s a newcomer to Ottawa’s art scene, and she knows her work is unusual. Her quiet confidence and girl-next-door looks contradict her collection of bizarre and sometimes scary sculptures, paintings and collages. “One piece, people told me I should pitch to the bondage shop in Edmonton,” laughs the Regina native of a seven-foot tall steel contraption she created. “It scared them, it got the most attention.” Though Wood’s interactive and inventive steel pieces have held their rusty heads high through several successful group and solo shows in Alberta and Ottawa, they began as scraps around her father’s garage. “We were bonding, he was teaching me to weld,” she says of her high school years with her mechanic father Robert. “That was sort of the start of it. When I find things, I put them together in a way so they speak for themselves.” Wood tries to describe her sculptures but wrinkles her nose at comparing her work to the steel sculpture peppering some of Ottawa’s more popular tourist haunts. “It’s so boring. It’s completely different than anything I work on. They’re way too clean. They’re soulless to me.” Wood insists she’s more adventurous in her work but suspects the public may not be ready for her brand of steel. “I don’t think the government would be interested in anything I do, or in pushing the limits.” Wood has kept her steely gaze on sculpture since the end of high school and throughout her stint in Fine Arts at the University of Alberta. But when the 24-year-old took two cross-Canada trips in the last year, her focus — and her materials — began to shift. Her most recent show, Sometimes The Rent Is Due, parades her new motif — mixed media, three-dimensional collages. Far from being relegated to steel, Wood uses everything from coffee cranks, window frames and Plexiglass to darts, marbles and things that can only fall under the heading of “gadget.” Recently shown at The Collection, the exhibit will open Tue, Dec 17 at The Lookout. She has been known to scour junkyards and friends’ attics for her finds, accepting anything she labels “weird.” “I collect interesting things all the time and when they find a place to be, then I have something,” she explains of her collages. “I think the definition of junk should be rewritten. Instead of ‘the stuff you keep forever and then give away and then you need it three weeks later’ it should be ‘the stuff people keep forever and give to me and I find a use for it the next day.’” But one of Wood’s most inspiring sources of material was a box full of “leftover stuff” she inherited from her grandparents during her cross-Canada trip earlier this year. “It was all sort of historical and related to me, and nobody had the time to hold some big sort of garage sale,” she explained, adding that her grandfather’s hymnal book was particularly valuable to her current series. “I’m interested in junk to begin with, and this was the most meaningful junk I could find.” Many pieces in her series sport words of wisdom from the hymns, which Wood prefers to let viewers interpret themselves. “I’m a live and let live artist,” she says. “I think it would be arrogant to think that the work I do is so original to me that nobody else is going to get it. Somebody else is going to get it.” Wood’s trademark, however, seems to be dichotomy. “Most of the text on the images are contradictory or unrelated to the rest of the piece,” she explains. Artist and artwork alike seem to be constantly contradicting themselves. “I’m a little, 24-year-old blond girl who spends all my time dirty in a shop with an oxyacetylene torch. People want to associate you with the thing they least understand.” Just as Wood’s dichotomous self comes out in her work, so do her experiences. She dabbles in painting and photography and has managed to incorporate images from her cross-country trek into most of her works. “Everything you go through reflects who you are,” she explains. “I have no doubt that my art will take on different directions later. New places, new themes.” Perhaps the most unique facet of Wood’s work is its interactive quality. Her “go ahead and touch it” approach to gallery showings offers a dimension to art galleries that is seldom heard of. “You wouldn’t find too many artists who would encourage you to get that interactive with their work. If people in the gallery want to play with it, I’m not afraid, and the viewer shouldn’t be afraid,” she says, as a persistent blond curl falls across her eye. “Just break the rules, do whatever you feel, and we’ll see what happens.” But wherever Wood’s creations hang, Dad is still her biggest supporter, if not necessarily her biggest fan. “He loves it,” Wood laughs of her father’s straight- forward view of art. “But he’s my biggest technical critic. He checks my welding. I don’t think he understands.” But then, that’s not the point. 'The Lookout' ______________
2002.09.28
The Collection / Bar 56 September 28th to October
25th, 2002
She is referring to her current exhibit, 'Sometimes The Rent Is Due,' showing at the Collection in the Byward Market from the 28th of September to the 25th of October. The works are a series of mixed-media assemblages, often incorporating mundane items (a rusty door latch, a wooden spool of thread, a discarded mirror) they are three-dimensional and semi-interactive. "People don't usually want to touch art," says Wood, "in one case, people took a long time to warm up to an installation piece I designed specifically to be sat on. Obviously I want people to be respectful, but if nobody opens these doors, their purpose will be unfulfilled." Wood is unapologetic about the fact that these works "aren't traditionally pretty," but she believes that "They are beautiful, they're escapist. They're fantastical and bizarre."
The Collection / Bar 56
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