Thursday, May 16, 9am – 6pm
Friday, May 17, 9am – 12pm
Andy’s Place Terrace
Reception: May 16, 4 – 6 pm, Andy’s Place Terrace (AH100), U of L
Artists: Emily Luce with Major Collaborators Rodney Sayers and Alan Maten
Featuring the work of:
Taylor Ackerman, Leila Armstrong, Cindy Baker, Victoria Baster, Karen Campbell, Christine Clark, Adrian Cooke, Dana Cooley, Jennifer Crane, Dagmar Dahle, Annelaure Djaballah, Chai Duncan, Jane Edmundson, Leanne Elias, Mandy Espezel, Denton Fredrickson, Don Gill, Marianne Gerlinger, Fred Greene, David Hoffos, Patricia Horrocks, Andrew Jensen, Emily Luce, Jared Klok, Glen MacKinnon, Petra Mala Miller, Billy McCarroll, Mary-Anne McTrowe, Greg Moody, Christopher Moore, Monica Nobert, Chad Patterson, Taras Polatiako, Beth Porter, Arianna Richardson, Catherine Ross, John Savill, Rodney Sayers, Jeff Spalding, Melinda Spooner, Corinne Thiessen Hepher
Domesticity in the Art World, Sustainable Architecture (and Living), Community/Collaborative Aspects, and the Pleasure of Tiny
The Cardiff/Miller House is a miniaturized but inhabitable replica on wheels of an infamous art house in Lethbridge Alberta. Exploring notions of domesticity in the art world, the line between the art life and art history, and sustainability and the tiny house movement, the house is a transitive portrait containing tiny work by over 40 artists who have ties to the house.
I live in a suite in a house owned by the artists Janet Cardiff and George Burres-Miller in Lethbridge, Alberta, Canada. At one time, they lived here, as have a slew of other Canadian artists who invited people in, made their work, and were a part of the arts community over the years. Throughout the house one can find a collection of ‘artist repairs,’ slightly left of center solutions to problems. The storage spaces are goldmines, collections of discarded art projects, furniture finds from the thrift store (mostly broken, alot orange,) and usable, random art supplies. The house has started to establish somewhat of a mythic quality for itself. Locals are curious about who is living in the suites; everyone has an opinion about how it should be repaired. It’s a place that’s right on the brink of a certain history—someday it could become a significant art site. Then again, it could be sold and renovated by someone who wants to take advantage of its large footprint and strategic location.
I am interested in this tipping point. Through the construction of a miniature portrait of the Cardiff-Miller house, I aim to explore the qualities of this building in the present moment, and its domestic presence in Canadian art history.
The work presented is an 8 x 16′ replica on a trailer of the Cardiff/Miller House. Inside, the house is furnished with tiny works by over 40 artists with ties to the house, in addition to a sleeping loft, a tiny kitchen area, and a waterless bathroom. Both interior and exterior architectural details refer to the original house, creating a miniature, interactive portrait of the complex life of an art house.
The Cardiff-Miller House is the first stage in a multi-part project to develop tiny but inhabitable replicas of significant art houses across Canada. Future houses in the series include the Agnes Martin Family Homestead, located in Macklin, Saskatchewan, the Emily Carr House in Victoria, BC, and the Maud Lewis House in Halifax/Digby, Nova Scotia.
With Assistance From:
Jeld-Wen Windows and Doors, Storage Town, Savill Group Architects, Duane’s Drywall, The Nikkei Cultural Society of Lethbridge, Davis GMC Buick, The Alberta Foundation for the Arts, The Canada Council for the Arts