Talia Shipman | Detox
- Talia Shipman | 2016
- Detox (pink cellophane)
- Archival photograph / UV glass /custom frame
- 27 x 18 in (Edition of 3)
b. in Vancouver, BC. Lives and works in Los Angeles, CA
Talia Shipman is a multi-disciplinary artist based in Toronto. Her practice often explores the combination of aesthetics that examine the pursuit of lifestyle and design. Often highlighting the layering of references, citing issues of cultural identity, social conventions and traditions, Shipman creates works that lend themselves to the texture of photo-based collage and installation. Her permanent public projects Blue Space (Water Wall) (2015) and Water is Taught by Thirst (Submerge) (2015) are both prominently on display in Toronto's Bay Street Financial District. In addition, she has exhibited both in Canada and US as part of the Scotiabank CONTACT Photography Festival (2015) at the Drake Hotel, Photorama (2008, 2013-15) at Gallery TPW in Toronto and Greenhouse (2015) at One Mile Gallery in Kingston, NY. Shipman holds a BFA in Photography from Ryerson University, School of Image Arts (2007) and was awarded Best in Show (2007) in her graduate exhibition. She has been selected numerous times for the Magenta Foundation's Flash Forward Grant given to Emerging Photographers from Canada, US, UK in 2006, 2008 and 2014.
Talia Shipman’s photographic series Meet Me In The Middle explores an imagined post-apocalyptic world where water and other basic needs are replaced by consumer objects, examining the human and natural world’s propensity to change and transform. Meet Me In The Middle was created in a fervent process of navigating and confronting the unforgiving conditions of the static desert landscape. Fascinated by the colour turquoise as a metaphor for water, fluidity, and change, Shipman struggles to find balance between the two uniquely fragile extreme ecosystems – the increasingly dehydrated earth and equally delicate capitalist world order. The series and the subject matter addressed is relevant concerning the ongoing global water crisis, current contentions raised at the Dakota pipeline protests, and the commodification of this precious resource. Underscoring the layering of references, she alludes to environmental concerns, social conventions, and her own personal quest for identity.