Systems of Creation,
the technical processes used to create artworks are themselves designed or invented.
While these generative tools, algorithms and programs serve an integral role in the
production of artworks, they also embody artistic expression as a practice of creative
engineering. In an effort to demystify algorithmic processes and mechanized art making,
visualizations of these systems of creation are exhibited alongside artworks.
Connor MacKinnon, is a sculpture artist from London, Ontario. His work explores the physical
and conceptual reconstruction of objects through a perspective that is grounded in imagination,
potential, and questioning. Working with algorithmic 3d modelling, and digital fabrication,
MacKinnon’s ongoing MFA research at the University of Victoria investigates the role of fiction
and authenticity in historical reconstructions. He has recently participated in an online special
project through In-ruins Residency linking archeology and contemporary art and continued this
exploration at the Duplex art residency in Lisbon, Portugal. MacKinnon holds a BFA from the
Nova Scotia College of Art and Design and an Advanced Diploma in Fine Arts from Fanshawe
Colton Hash is a new media artist who currently resides as an uninvited guest on Lekwungen
territories of Vancouver Island. Exploring generative systems as analogies for complex
interactions, Hash strives to create accessible works for viewers to consider cultural
relationships between infrastructure and local ecologies. Hash integrates science and
technology through an intuitive process to create dynamic installations that confront
industrialization and climate change. In recognition of his politically based practice, Hash
received the Witness Legacy Award for Social Purpose and Responsibility Through Art (ProArt
Alliance, 2019). Hash received a B.Sc. in Computer Science, Visual Arts and Environmental
Studies and is currently an MFA candidate at the University of Victoria.
The fifty fifty arts collective is comprised of individuals living and working on unceded and occupied First Nations Territories, specifically the lands of the Songhees and Esquimalt Nations, as well as the W̱SÁNEĆ, Sc'ianew and T'Souke First Nations.
The programming space itself is situated on Songhees and Esquimalt Territory but engages with individuals and communities across Turtle Island.
As a collective we endeavour to deepen our own understandings of how we are implicated in the history and in the present ongoing project of settler colonialism. As members of the fifty fifty arts collective we continually responsibilize ourselves to the complex kind of space that is the fifty fifty which hosts and facilitates the dissemination of the ideas and work of others.
The entrance to the fifty fifty arts collective is wheelchair accessible, however, the door is not automatic and we have no washrooms on site. A more comprehensive statement regarding our accessibility is in progress, specific questions or requests regarding accessibility can be sent to [email protected]
Funded by CRD Feed the Arts