solo exhibitions

2009 Johnston's Falls
2009 Radiant
2008 This old thing?
2007 All That Glitters…
2006 Tag (with Erin MacMillan)
2006 Talk Back
2006 Shoes
2004 Friday, February 13th, 2004
2001 - 02 Wish You Were Here...
2000 Bonjour, Je m’appelle Shelley Ouellet
1999 Marilyn
1999 Aviary
1997 - 99 Entomology
1997 Quilt
1995 Entomology
1994 Entomology
1994 Bunnies

group exhibitions

2005 Stride 20th Anniversary
2002 Alberta Biennial
2002 Art Throb
2002 ACAD Faculty Exhibition
2000 Coffee Break@instant coffee.com
1999 Light a Match
1996 Alberta Biennial
1996 Numbered Company
1995 Mysteries of the Flesh
1995 Copy

other diversions

2006 - 2008 Carpet 'N Toast Gallery
1996 - 2010 vanitygallery.com

Seeing and Being Seen

Contributing writer: John Will

The social season got off to an ebullient and exuberant start last night at Calgary’s The New Gallery with Shelley Ouellet’s exhibition entitled Friday, February 13, 2004. the city’s polished sophisticates as well as visitors from across the country danced the night away to the rhythmic sounds provided by Djs Bruno and TJ. Halifax artist, David Clark was spotted shaking his gangly legs with both designer, Haithem el Kadiki and fur-clad Andrew Jensen of High River’s oil patch royalty. Local art dealer and tiara-topped Daniel Lindley who usually holds center stage on the dance floor was not amused.

Local artist, Chris Cran monopolized the delectable hor d’oeuvres table as he is wont to do while Murray Lamb of the Vancouver Sun seemed to be tippling a bit too much at the bar, and as a result, had suspicious stains on his elegant tuxedo and oh-so-stylish ruffled shirt. Chicago artist, Bradley Harms with several women in tow, was his usual arrogant self. And what in the world was Blake O’Brien of the Barron Building doing on his knees all night long? Beware revelers, being his ever-vigilant self, shutterbug, Hutch Hutchinson was slinking about, snapping shots for his expanding blackmail file.

As for the ladies, the tall and short of it, Ponoka photographer, Diane Colwell and Red Deer watercolorist, Aurora Landin made a striking spectacle of themselves on the dance floor as they writhed into the wee hours with complete abandon. Anthea Black, Director of Stride Gallery and the petite but predatory Tamil Tigress, Pavitra Wickramasighe were decked out in their stunning alluring ensembles and, by the way, were on the arm (and sometimes, the lap!) of a chap in a red fedora and long black bearskin coat. A somewhat edgy Tomas Jonsson, Programming Director of The New Gallery, informed me that this peculiarly garbed gent was one of the many uninvited who were crashing this bash with the ever-vigilant, Head of Surveillance, Ken Buera doing a yoeman’s job keeping tabs on everyone.

Speaking of stunningly dressed, I noticed Armani-clad Bruce Livingstone, President and CEO of Evolvs, whispering to independent curator, Diana Sherlock. Could it be that he was complimenting her on her new reconstructive surgery??? While eavesdropping, I did hear Diana sounding off about the lack of acknowledgement of her philanthropy. But didn’t she look terrific in that Gaultier outfit! And need I say more that “fabulous” about the more-than-hip demeanor of Ed Olson, Provost of the Olds Agricultural Institute who was accompanied by you-know-who and didn’t that fact get tongues-a-wagging.

Socialite Myrna Harvey and Urban Glasswork’s Dennis Hrubizna managed to squeeze the event into their busy social calendar and were accompanied by the reclusive artist, Pamela King. Of course, Myrna was decked out in Versace and not surprisingly, Pamela was dressed down in her usual purple sweats but Dennis… Dennis, those plaid trousers have to go.

Doug Fletcher, President of Keystone Graphics and his vivacious wife, artist Suzanne Franks were spotted chatting with Phonic Sound’s Brett Watson. The artist’s proud parents, Bill and Judy Ouellet, were in attendance and were justifiably beaming all night long. Milo Dlouhy, Co-Director of the Sugar Estate Gallery also certainly seemed to enjoying himself what with a martini in hand and a king-sized, smoldering weed between those large, sensuous Czechoslovakian lips.

Now, let’s talk about the art. The exhibition consisted of 8 video monitors embedded in the walls with a live video feed from three cameras. Needless to say, folks were anxious to be seen and there was a constant maneuvering to get on camera. Brandy Tam, in a black leather S&M outfit was particularly rabid in her moves to appear on screen. And was that really One Yellow Rabbit’s Kirk Miles and diva, Elizabeth Stepkowski I saw playing to the camera. Oh those thespians! Makeup artist par excellent, Keith Murray certainly had a busy night tending to the requests of he attendees and the classy Courtney Scott of The New Gallery was continuously occupied in her role as official greeter.

Due to the adult nature of the evening it was necessary to restrict attendance to persons 18 and over. But what I wanted to know was where that wheel-chaired geezer came from? Ouellet explained to me that those under 18 have the malls to hang out in and if the occasional senior wants to participate in her work that is OK as long as the don’t bring the whole nursing home along.

But hey, I said I was going to talk about the art…so let’s get back to that.

A concern in many of Shelley Ouellet’s past works has involved getting other involved. Many (including this reporter) assisted in the construction of Ouellet’s earlier pieces; Entomology exhibited at Truck in 1994 and Mt. Rundle shown at the Nickle Arts Museum in 1995. Granted, much of the construction of those pieces might seem to have been like an endless quilting bee but the interaction between volunteers energized the activity and socially, was a warmer-upper to the activities at the New Gallery.

Friday, February 13, 2004 not only reinforces Ouellet’s regard for community, it presents the community as the subject matter of the work. The many volunteers under the stewardship of Ouellet, merged club life and art event and the distinction between the artist, the viewer and the night prowler melted away like snowflakes on an early spring morn.

Friday, February 13, 2004 may conjure up the current Tvs “reality” mania. Why Ouellet’s work is different from that genre si that her’s are truly real and conceived and executed by an intelligent and sensitive person. On the other hand, it might be argued that many of Ouellet’s willing participants are neither intelligent or sensitive. Ouellet’s democratic approach to solicitation does leave the door ajar to lunatics as well as geniuses and to beautiful people as well as the ugly ones. But this inclusive approach is yet another reason that differentiates Ouellet’s work from TV and besides, no lunatics or ugly people showed up last night.

By encouraging the community to assist her, she engages them to deconstruct the misconception that art has to be some sort of alchemic, hocus pocus. The concept of Friday, February 13, 2004 is in keeping with her past work in that it engages the viewer in a spirit of collaboration and construction. But this piece is her most autobiographical work to date and her the message is more personalized and is one that has concerned Ouellet throughout her long and illustrious career – “Party down Dude!”

Back in the 80s, when I used to make the occasional visit to the smoky, beer smelling Republik I remember seeing Shelley Ouellet there. I could not help but be impressed by the crowd she always seemed to be with. It was not just the sheer number of people that gravitated toward her, it was the nature of her entourage. Ouellet always seemed to attract as cornucopia of types. Handsome hunks, nerdy geeks, vivacious Gap-clad coeds, gorgeous Goths, skateboard maniacs, scruffy punkers, and down-dressing CPAs – they all seemed to swarm around her like drones to the Queen Bee. This proletarian, bourgeois, ruling class, mess-mixture fascinated me. I was anxious to meet her which I eventually did and these days when she invites me to a club for a bit of dancing, under her tutelage, I still try to a passionate Pony or Funky Broadway.

Like her own accouter last night, Ouellet’s installation was quite breathtaking and enjoyed by all in attendance. With Friday, February 13, 2004 we were lucky to tag along with Shelley Ouellet as she “hosted the mostest” event of this season. For those who behaved at the opening, you can relive your fun by visiting The New Gallery. For you naughty ones who were there (and yes, we know who you are)… well, you too should come on down. You weren’t really that bad.

John Will 2004

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