About The Work
Re-envisioning vision. Exploring the boundaries between the physical and the imagined, the perceived, and the misperceived. Constructions uses landscapes as structures through which to investigate and pull apart these territories of sight. What we see is constantly in transformation. The scene before us changes with the faded recollection of what was experienced seconds ago. Beyond how the mind transforms what is understood as actual, the body itself manipulates sight. Vision can only reveal what has already been. Blind spots speckle our field of view and afterimages happen every split second but we cancel them out. What else is hidden? I create these stereoscopic photographs from backpacking trips to investigate our inability to accurately grasp the world. These images confront us with paradoxical vision. First, there is the flat, colorful image of a wondrous place. Then, with glasses on, there is red, or blue, if one eye is shut. The combined 3D image shows a fourth perspective where the scene’s planes appear to jut outwards or recede behind the photographic surface. There are others if we focus on the geometric symbols pointing to where the construct breaks down. How can one image be perceived in all these ways? Through this series, I explore what drives me ever onwards: how does what I see compare to what you see? How much does vision make our worlds stray from each other’s? Why is the seen prioritized over the daydreamed, the imagined, when sometimes they can be so alike?
WHAT TYPE OF PAPER IS THE PHOTOGRAPH PRINTED ON?
All prints are Digital Pigment prints on museum-quality acid-free papers such as Museum Etching, Canson Rag and Arches Velin. These papers are designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. The choice of paper is suggested by the Photographer according to his or her preferences.
WHAT IS THE PRINTING PROCESS USED?
All prints are Digital Pigment Prints using the latest top of the line technology, archival high dynamic inks and 200 years old life paper.
IS THE IMAGE SIZE THE SAME AS THE PAPER SIZE?
NO! Our prints are on standard paper sizes and we don’t alter the image size and proportions to fit the paper. Each print has a minimum of 0.5 inch white border. This is an artistic decision that belongs to the artist. Margins don’t normally exceed 2-4 inches on each side depending on the final paper size.
Annie Briard is a Vancouver-based visual and media artist challenging visual perception and memory through moving image and photography focused work.
Briard has exhibited in solo and group shows across Canada and internationally, including galleries and festivals in New York, Rio, Barcelona, Madrid, Basel, Shanghai and Beijing. She has delivered engaging temporary public art in Montreal, Hamilton, Vancouver and Victoria, including video installations Arborescence and Comment délaisser le sol à jamais for Art Souterrain (2009, 2012), interactive animations The Woods and Winterplay (2012-2014) and in 2015 produced the stereoscopic 3D billboard Any Day Now for Art in Transit Toronto and Capture Festival Vancouver.
Briard was an artist-in-residence at the Banff Centre and was selected by the Centre International d’Art Contemporain to represent Canada at the WEYA symposium in England in 2012. The following year, she presented solo shows at Back Gallery Project, Black & Yellow and VIVO media arts centre in Vancouver, and Centre 3 in Hamilton. In 2014, Joyce Yahouda Gallery in Montreal presented ‘Sight Shifting’, a solo exhibition of new works focused on perception and wonderment. Briard is currently preparing solo exhibitions for Winnipeg and Montreal as well as an artist residency in Spain.
In conjunction with her practice, Annie Briard is an educator at Emily Carr University. She holds a BFA from Concordia University and an MAA from Emily Carr University (2013). Her work is represented by Joyce Yahouda Gallery and Back Gallery Project.