Annie Briard
b. in Montreal, Quebec. lives and works in Vancouver, BC.
CV
Annie Briard is a Canadian visual art and media artist whose work challenges how we make sense of the world through visual perception. Creating lens-based and light-focused works, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism.
Her moving images, media installations, expanded and print photography works have been presented in numerous solo exhibitions, including "Second Sight” at AC Institute (New York, 2019), “Paracosmic Sun" at Monica Reyes Gallery (Vancouver, 2017), "Staring at the Sun" at Joyce Yahouda Gallery (Montreal, 2016), as well as group shows, festivals and fairs internationally, including at the Vancouver Art Gallery, Art Mur (Montreal), Three Shadows Photography Centre (Beijing), the Lincoln Film Centre New York, Matadero Madrid, the Switzerland Architecture Museum, among many others. Recently, she presented large-scale public art projects for a number of commissions in Canada. Sourcing inspiration from the affectation of new and/or altered sights, she regularly undertakes art residencies, which have included working in New York, Los Angeles, Spain, Iceland, as well as long-haul hikes across the North American back country. Annie Briard’s work is supported by the Canada Council for the Arts and the British Columbia Arts Council.
Briard holds a BFA from Concordia University and an MFA from Emily Carr University of Art + Design.
CV
Annie Briard is a Canadian visual art and media artist whose work challenges how we make sense of the world through visual perception. Creating lens-based and light-focused works, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism.
Her moving images, media installations, expanded and print photography works have been presented in numerous solo exhibitions, including "Second Sight” at AC Institute (New York, 2019), “Paracosmic Sun" at Monica Reyes Gallery (Vancouver, 2017), "Staring at the Sun" at Joyce Yahouda Gallery (Montreal, 2016), as well as group shows, festivals and fairs internationally, including at the Vancouver Art Gallery, Art Mur (Montreal), Three Shadows Photography Centre (Beijing), the Lincoln Film Centre New York, Matadero Madrid, the Switzerland Architecture Museum, among many others. Recently, she presented large-scale public art projects for a number of commissions in Canada. Sourcing inspiration from the affectation of new and/or altered sights, she regularly undertakes art residencies, which have included working in New York, Los Angeles, Spain, Iceland, as well as long-haul hikes across the North American back country. Annie Briard’s work is supported by the Canada Council for the Arts and the British Columbia Arts Council.
Briard holds a BFA from Concordia University and an MFA from Emily Carr University of Art + Design.
All THE LIGHT YOU CANNOT SEE
Capture Photography Festival and Mónica Reyes Gallery | online exhibition
Spring 2020
Capture Photography Festival and Mónica Reyes Gallery | online exhibition
Spring 2020
All the Light You Cannot See presents multidisciplinary artist Annie Briard’s latest exploration into the poetics of vision. The work presented in this solo exhibition take up additive and subtractive colour and light waves revealing the visible spectrum through photographic processes and modes of display.
Inspired by the fiery skies of the western coasts, and the starkness of the desert landscape, the celestial representations evoke the romanticized image of sunsets, science fiction atmospheres, and the Aurora Borealis. With shifting ecologies, and environmental changes that seem at once imperceptible and extreme, the perception and sensation produced by Briard’s new series bring to mind a desire to see, a comfort in return, and the passivity of beauty.
Colour-shifting horizon lines and skyscapes are artificially produced using photographic images and programmed LED lightboxes, and celluloid projections blur and expand the definitions of natural light. Briard’s interest in our perception of light, colour, and the natural environment manifests as cyclical, shifting, meditative colour fields, as viewers bathe in a glow of past, present, and future. The colours that shift become just a memory, or capacity of vision. As the cycles unfold, knowing is undone, and perception begins.
Supported by a Tricera Printing Grant.
Inspired by the fiery skies of the western coasts, and the starkness of the desert landscape, the celestial representations evoke the romanticized image of sunsets, science fiction atmospheres, and the Aurora Borealis. With shifting ecologies, and environmental changes that seem at once imperceptible and extreme, the perception and sensation produced by Briard’s new series bring to mind a desire to see, a comfort in return, and the passivity of beauty.
Colour-shifting horizon lines and skyscapes are artificially produced using photographic images and programmed LED lightboxes, and celluloid projections blur and expand the definitions of natural light. Briard’s interest in our perception of light, colour, and the natural environment manifests as cyclical, shifting, meditative colour fields, as viewers bathe in a glow of past, present, and future. The colours that shift become just a memory, or capacity of vision. As the cycles unfold, knowing is undone, and perception begins.
Supported by a Tricera Printing Grant.
ANNIE BRIARD | Within the Eclipse
BURRARD ARTS FOUNDATION
January 19, 2021 - March 20, 2021
Prolonged exposure creates a sense of disconnect: staring too long, repeating words, looping audio. Repeating the same word again and again, it becomes meaningless, a phenomenon known as semantic satiation. Annie Briard examines this disorientation in the realm of vision, contending with the fallibility of human senses and the malleable nature of perception through images and light-based installations that create subtle rifts in what we think we see. By encouraging us to look longer, more deeply, and from a different stance, Briard’s work creates fertile dissonance, where the concreteness of reality begins to melt away.
Briard’s work can be succinctly defined by two interrelated principles: colour and light. Photography, a medium she’s often worked in, is perhaps more governed by light than any other. In her photographic work, the subjectivity of vision often shows up as trippy maximalism; saturated colours, chopped-up landscapes, double- or triple-vision. But the work produced in her Burrard Arts Foundation residency is almost minimal; light-based sculptural installation that immerses the viewer in a first-hand experience, rather than recreating a distorted one in two dimensions.
In The Glow of Two-Thousand Moons, Briard placed three analog slide projectors inside monolithic plinths. The projectors cycle through a series of 80 slides, all images of the clear, daylit sky shot by Briard using colourful cinema gels (transparent, tinted material used to create lighting effects in film). Working with seven shades of gels, Briard mixed and layered them to create countless variations and tones, a nod to the fact that just three colours combine to create the limitless spectrum of hues we see. The plinths create an overlapping, circular projection reminiscent of the theater of the heavens, constantly shifting and cycling through a predetermined rhythm. Briard asks us to consider how our own perception could be seen to act as another gel, or filter, shading our vision and altering reality. The cyclical projection also evokes the stages of the moon, itself a blank canvas coloured by human subjectivity. Fittingly, while we perceive the moon to be white, it actually shifts in colour depending on the circumstances through which we perceive it, such as atmospheric elements and telescope positioning.
Our understanding of the physical world, then, is forever distorted. But increasingly, it takes an even more altered form; the simulated. As weeks of social isolation have turned into months, a staggering amount of interaction comes to us through a screen. Briard’s work has existed at the edge of perception for almost a decade, but this past year, more of us than ever have become hyper-aware of the uncomfortably constructed nature of experience.
Light is the supreme controller of how we see, directly and through infinite interactions with the elements that surround us. With Horizon Lightboxes, Briard presents the viewer with a lightbox image of the horizon, forever changing colours like a mood ring. These protean images bring to mind the way memory is constantly open to interpretation and coloured by circumstance. In the moment, too, reality constantly shifts and bends, like light refracted through a prism—see the phrase “rose coloured glasses.” Colour, light, and the inner world all combine to create their own unique hue that overlays our vision.
Finally, with Sun Simulations, Briard continues her preoccupation with light and subjectivity, with an added meditation on the digitization of human experience. Consisting of a contemporary, color-changing kinetic “stained glass window,” this most developed during her residency at BAF simulates the effect of sunlight streaming through a window. A video projection accompanies the lightbox to mimic solar beams coming through the panes of glass. With these works, Briard contemplates what effect it might have to simulate the sun, the most vital element of our universe. In Medieval cathedrals, stained glass windows were designed to communicate the sublime—in Briard’s hands, the most basic element of the natural world, the light of the sun, becomes a thing of wonder, akin to a spirit or a higher power. Such is the disconnect between the natural world and the average person. As with Horizon Lightboxes and The Glow of Two-Thousand Moons, so too does The Light of the Cosmos incorporate slowly shifting coloured lights designed to explore colour perception and mimic the ways in which natural light affects our interpretation of color.
The throughline of Briard’s work is how perception differs. Between individuals, each bringing their own biases and context to what they experience, the same scene can evoke an infinite array of moods and memories. No matter how earnestly we ignore our senses’ fallibility, it has a way of creeping in; blurred vision, wavering outlines, halos and auras brought on by the mutability of our consciousness and our shifting environment. For Annie Briard, human experience is delicate and fluid – in a sense, its own form of artistic expression.
Text by Meredyth Cole and Genevieve Michaels, Burrard Arts Foundation
Image credit: Burrard Arts Foundation
ANNIE BRIARD at Queen's University, Union Gallery (Kingston)
SECOND SIGHT
March 2 - April 30, 2021
Imagine you’re driving through the hot desert passing by the same landscape of trees. The sun is glaring through the window and your mind wanders off as your surroundings become more and more hazy. How do you know you’re seeing trees? Is it light that reflected off the trees, entered your eyes, and created the image in your brain? Could it be your psychological desire that materialized the trees? We depend so much on our visual perception to interpret our surroundings, and yet our visual perception is fallible and deceptive. As much as we gain knowledge about the world from the visual, our knowledge of vision remains puzzling.
Annie Briard’s solo exhibition Second Sight reflects on the problematics of perception by taking the viewer on a road trip through the high desert, where the seen eventually breaks apart and the limits between physical reality, head trips and visions from beyond become blurred. Joshua Tree is seen through disused military optics or prisms, responding to an ancient theory claiming that we see the world as a result of minuscule crystals within our eyes. As military optics frame perspectives towards specific ends, so too might the eye and its crystalline components. The exhibition presents a video installation alongside sculptural holograms and sound.
Curatorial Assistant: Jung-Ah Kim
Installation Team: Cory Benn and Carina Magazzeni
Annie Briard’s solo exhibition Second Sight reflects on the problematics of perception by taking the viewer on a road trip through the high desert, where the seen eventually breaks apart and the limits between physical reality, head trips and visions from beyond become blurred. Joshua Tree is seen through disused military optics or prisms, responding to an ancient theory claiming that we see the world as a result of minuscule crystals within our eyes. As military optics frame perspectives towards specific ends, so too might the eye and its crystalline components. The exhibition presents a video installation alongside sculptural holograms and sound.
Curatorial Assistant: Jung-Ah Kim
Installation Team: Cory Benn and Carina Magazzeni
ANNIE BRIARD at Foreman Art Gallery of Bishop's University, Quebec
VIDEOTANK #22: LANDSCAPE, CUTOUT
October 1, 2020 - March 20, 2021
Landscape, Cutout emphasizes the constructedness of reality or the world surrounding us, and vision’s sometimes problematic role within this construction. In this particular work, a still image is crudely cut up to form arbitrary divisions in our view of the landscape. Using the screen’s light to brighten individual cutouts at varying intervals, the landscape can be seen to subtly change in perspective. As the moving image transforms slowly over time, only memory can reveal its lack of fixity and ever going shift.
To see the full virtual tour of Annie Briard's work and other current exhibitions at Foreman Art Gallery, click here.
To see the full virtual tour of Annie Briard's work and other current exhibitions at Foreman Art Gallery, click here.
Annie Briard | In Possible Lands
Outdoor Installation at Art Gallery at Evergreen
Outdoor installation on the exterior lobby windows of the Evergreen Cultural Centre
May 2020 - July 2020
In Possible Lands (2020) pairs superimposed photographs of the landscape—one captured 45 years ago by the artist’s father, and the other a present-day image taken by Annie Briard—that together evoke a sense of wonder with their vivid colours and majestic yet familiar subjects. But examined up close, they reveal a world altered by human action.
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ANNIE BRIARD
shares her thoughts about the COVID-19 situation from Vancouver, BC. March 26, 2020 |
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PAST EXHIBITIONS at Mónica Reyes Gallery (formerly Back Gallery Project)
Paracosmic Sun | 2017
What we see of the world results from a complex interplay of unstable systems. Vision is a wondrous affair, navigating the line between acts of deciphering and of creating. Our perceived surroundings are a collection of images formed through the intricate workings of our senses, and the impressions prescribed by mood, memory and so much more.
There is no fixed reality; it is a product of myriad conditions, which at times conflict. Vast knowledge can be derived from sight, but is it ever the same for us all? From one instance to another? How much of what we see is actual? How much is fabricated?
Staring at the Sun poses these questions through an immersive experience in which we are asked to consider the visible spectrum. Here, colour is both perceived and produced by the body and mind. What we see reflects at once the light of the rainbow and its negative. The limits between the tangible and the imagined collapse into a dizzied blur of colour and invisibility.
Paracosmic Sun | 2017
What we see of the world results from a complex interplay of unstable systems. Vision is a wondrous affair, navigating the line between acts of deciphering and of creating. Our perceived surroundings are a collection of images formed through the intricate workings of our senses, and the impressions prescribed by mood, memory and so much more.
There is no fixed reality; it is a product of myriad conditions, which at times conflict. Vast knowledge can be derived from sight, but is it ever the same for us all? From one instance to another? How much of what we see is actual? How much is fabricated?
Staring at the Sun poses these questions through an immersive experience in which we are asked to consider the visible spectrum. Here, colour is both perceived and produced by the body and mind. What we see reflects at once the light of the rainbow and its negative. The limits between the tangible and the imagined collapse into a dizzied blur of colour and invisibility.
The Constructions Series | 2015
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?
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?
Annie Briard | Wanderings | 2013
Standing isolated in a forest full of towering trees with tiny agile creatures scurrying between your feet, suddenly you happen upon another face. Wanderings is an exploration of the embodiment of perception, reality, time and place.
Focusing on our environmental relationships, Annie Briard produces open-ended fables within fantastical universes as personal experiences for the viewer. Her works are created through diverse media but focus on utilizing the moving image as a means to blur the distinction between reality and perception.
Wanderings marks Briard's first solo exhibition of work in Vancouver. Featured within the exhibition is her interactive stop-motion animation, The Woods (2012), a work that affords you the chance to speak with it only as much as it speaks back at you. In ‘choose your own adventure’ style, viewers communicate with the main character Cecilia, through text messages and movement, prompting different surrealist inspired fable-like narrative moments and actions. Through its playfulness and unique aesthetic, the work questions the limits between dream and reality, human made worlds and nature, and structures of communication and domination. The Woods will subsequently be touring across Canada at Centre 3 (Hamilton), Joyce Yahouda Gallery (Montreal), and VIVO Media Arts Centre (Vancouver).
View interaction documentation: http://vimeo.com/51083771
Standing isolated in a forest full of towering trees with tiny agile creatures scurrying between your feet, suddenly you happen upon another face. Wanderings is an exploration of the embodiment of perception, reality, time and place.
Focusing on our environmental relationships, Annie Briard produces open-ended fables within fantastical universes as personal experiences for the viewer. Her works are created through diverse media but focus on utilizing the moving image as a means to blur the distinction between reality and perception.
Wanderings marks Briard's first solo exhibition of work in Vancouver. Featured within the exhibition is her interactive stop-motion animation, The Woods (2012), a work that affords you the chance to speak with it only as much as it speaks back at you. In ‘choose your own adventure’ style, viewers communicate with the main character Cecilia, through text messages and movement, prompting different surrealist inspired fable-like narrative moments and actions. Through its playfulness and unique aesthetic, the work questions the limits between dream and reality, human made worlds and nature, and structures of communication and domination. The Woods will subsequently be touring across Canada at Centre 3 (Hamilton), Joyce Yahouda Gallery (Montreal), and VIVO Media Arts Centre (Vancouver).
View interaction documentation: http://vimeo.com/51083771