- 73” ht x 3.75” w
- 25 years of torn paper notes
- (fabricator: Chelsea Yuill)
There is a story or two here. The lore that follows one around. It varies in pace. Has a tactility that suggests the sensorial. The auditory, the tidal amplitude of life rippling in the demarcation of one’s dna. The past is evident but the present more so. What process is so practical as to produce an encounter or an event. This, laborious and ephemeral. Celestial and rooted, ground in dust, the detritus of the everyday rhythm, nonsymmetrical, but synchronous with the unknown, inviting you to stand still, be at ease. These stories collide. A collaboration of particles with divergent speeds and intentions coming to rest for an impromptu moment. Soft eyes. A stretch of time, spill frames into the canyon scaling the gathered. Scattered yet drawn in for visits of the everyday, with the sound of water folding onto itself.
"When I’m sketching out the templates for these sculptures I aim to make them referential to the moment in time that we are in. So, both from a microspective and macrospective view, referencing DNA, audio waveforms (amplitudinal), living organs/entities, mosaics/tiling, times broken down and strung together through space and the amalgamation of the spacial and temporal. The reworking, repurposing and condensing of the material carries inherent references to a previous life and the one that it is heading towards." (Jayce Salloum)
As if an itinerant geographer of conflicted territories (most everywhere), Salloum observes the world and creates/collects a subjective archive of images to make meaning from. Since arriving here - by no means of his own volition - he tries to go only where he is invited or where there is an intrinsic affinity, his projects being rooted in an intimate engagement with place. A grandson of Syrian or Lebanese immigrants he was born and raised on others’ land, the Sylix (Okanagan) territory. After 22 years living and working elsewheres he planted himself on the unceded Xʷməθkʷey̓əm, Sḵwx̱wú7mesh + Səíl̓wətaʔł territories. Salloum has lectured and published pervasively and exhibited somewhat peripatetically at the widest range of local and international venues possible (and most improbable), from the smallest unnamed storefronts in his downtown eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Museum of Modern Art, Guggenheim Museum, Centre Georges Pompidou, National Gallery of Canada, Bienal De La Havana, Sharjah Biennial, Biennale of Sydney and the Rotterdam International Film Festival.