Gillian Haigh
Born in Calgary Alberta, Gillian Haigh is a visual artist based in Vancouver, BC.
Gillian holds a BFA from Emily Carr University and her work has been featured in
exhibitions across Canada including Trapp Projects (2020), The Morris & Helen
Belkin Gallery (2019), Port Moody Arts Centre in May (2021), Young Space
(2021), Headline Gallery (2021), and the Banff Centre (2022). In 2022 Gillian was selected for a residency at the Banff Centre of Arts and Creativity with the Jim Dinning and Evelyn Main Endowed Scholarship for Visual Artists.
Opening in February, 2023 at our Mackenzie Heights location: "the change that weakens the hour"
Grounded in painting, my research concerns the linguistic parameters of the image. This body of work considers and challenges the indexical conception of the image; the picture as a textual document, an intellectual quotation of western modernist and post-modern practices. Rather I am drawn to both textual and visual vocabulary where we lose our linguistic mooring; where symbols refuse to consistently index meaning and collapse singularity of meaning. While the elements are coherent in themselves, once arranged they are both unfamiliar and familiar. Meaning shimmers and becomes elusive. Functioning within a larger framework of queer thought, I work to undermine traditional structures of representation.
Gillian holds a BFA from Emily Carr University and her work has been featured in
exhibitions across Canada including Trapp Projects (2020), The Morris & Helen
Belkin Gallery (2019), Port Moody Arts Centre in May (2021), Young Space
(2021), Headline Gallery (2021), and the Banff Centre (2022). In 2022 Gillian was selected for a residency at the Banff Centre of Arts and Creativity with the Jim Dinning and Evelyn Main Endowed Scholarship for Visual Artists.
Opening in February, 2023 at our Mackenzie Heights location: "the change that weakens the hour"
Grounded in painting, my research concerns the linguistic parameters of the image. This body of work considers and challenges the indexical conception of the image; the picture as a textual document, an intellectual quotation of western modernist and post-modern practices. Rather I am drawn to both textual and visual vocabulary where we lose our linguistic mooring; where symbols refuse to consistently index meaning and collapse singularity of meaning. While the elements are coherent in themselves, once arranged they are both unfamiliar and familiar. Meaning shimmers and becomes elusive. Functioning within a larger framework of queer thought, I work to undermine traditional structures of representation.
