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loop

My work deals with landscapes. By deconstructing and reconstructing the world around, I offer alternate views of the familiar.

In my series, “Any place is better than here,” I wove together maps and cut them away in topographical patterns to expose the paint underneath — a suggestion of the fingerprints we leave behind, evidence of our rough passage across this earth.

In the grid series, “the way the crow flies,” I used charcoal on mylar to render aerial photographs with a rich tapestry feel, reminiscent of an opulent rococo interior and in stark contrast to the surveillance-like images they represented. They were hung in an unconnected grid, in reference to the process of mapping.

In my installation for the UPArt exhibition, entitled “Hallelujah, we're all Saved As…,”  I translated a site-specific  aerial map into a large-scale cut drawing. Hung out from the wall, the shifting interplay of light and shadow informed what we saw and how we interpreted the work. The aerial map corresponded to the global positioning of the exhibit, bringing ‘home’ — through a contemporary, digitally driven reading of landscape — our fervent embracing of a monitored world.

Most recently, I have been creating a project, entitled Been & Gone, 100 random temporal observations, comprised of cut-out paper documenting random timed snapshots of daily movements taken over a 100 day period. A multitude of moments in time, stretched and distorted by the act of recording them.

The aim of each of these projects has been to break down our tools of classification and visualization, by playing with other ways of “seeing” landscapes.

Sandra Smirle is a mixed media artist, whose work has been exhibited in solo exhibitions and juried group shows, and is in private collections in Canada, Australia and Europe. Recently, her work was selected for inclusion in The Map as Art: Contemporary Artists Explore Cartography, published by Princeton Architectural Press in 2009. Sandra graduated from Concordia University with a B.F.A. in Experimental Design.

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