Angie Heintz
Angie Heintz
See it On Campus: Level 2
Visitor InfoTo find this work, walk in the front entrance and you will see it on the right as you enter. On the north side of the hallway.
Sediment Load / Sediments – Holding Space
My work is referential and conceptual in both form and content. Land and building underpin my artistic practice while meditating on themes of transparency, settlement, dwelling and belonging.
I am interested in how the essence of the past can influence, relate to, and present itself today.
In my practice, through varied approaches to sculpture, printmaking and painting, I incorporate layers of pigment, materials, texture, gestural marks and writing to represent stories both autobiographical and historical.
I am fascinated with the complexities of land ownership and the psychogeography of places; intrigued by the idea that there are endless journeys layered on the land – truths we will never know.
I visualize land and life as a palimpsest, that if transparent could perhaps better connect us both to the land and each other.
Sediment Load
Sediment Load considers the temporal nature of occupancy. Especially acknowledging the unsettling acts of withholding land rights, dispossession and displacement of marginalized people, highlighting temporary settlement and resilient transformation.
These sentiments are explored through the strength of threads and the tactility of paper clay to weigh down delicate metal construction. The woven, intricate, fragile, knotted and overlapping apparent histories – covered and quieted. The process reveals the colours of fractured paths and mirrors materials of place, markers of time and memory.
Sediment Load
2024
Steel, Paper Clay, Pebbles and Yarn
132″ x 48″ x 6″
Sediments – Holding Space
Sediments – Holding Space explores the layered land deposits of an unsettled place. A place that bares the weight of architecture and the gravity of delicate moments. The order and chaos that can be held in balance between structures and relationships, built and transformed over time.
Sediments – Holding Space
2024
Steel, Paper Clay and Yarn
54″ x 32″ x 7″
Previous Projects
Concrete Windows
This sculptural installation considers the land located at 49.11073 N and 123.11523 W.
The muddy shoreline, feral trees, broken pilings, dried grass, crushed concrete and tangled rebar; there is a precarious nature.
While combing the landscape it is impossible to capture the heavy histories, the fragile structures, the dispossessed communities, the many moments lost and erased on this unceded territory.
With the rise and fall of the tidal river memories are submersive.
Concrete Windows
2023
Steel, Concrete, Cardboard, Dyed Canvas, Dried Foliage, Wooden Buoys, Rope and Rocks
13” x 13” x 72”, 13” x 13” x 84”, 13” x 13” x 86”, 13” x 13” x 36”
My Heart Is Holding On To
An installation exploring the nervous systems of both the heart and a grove of trees. Branches collected from the land where my grandmother lived and etched wood, cast shadows on the walls as viewers are invited to walk on the roots carved into the floor piece and amongst a soundscape of soft heart beats. The concept of connections is reinforced by the movement and inclusion of human shadows. The body and the earth hold memories.
My Heart Is Holding On To
2023
Laser cut plywood, MDF board, apple tree branches and copper wire
38” x 26” x 24”, 38” x 26” x 24”, 38” x 26” x 18”, 16” x 18” x 8”, 36” x 24” x 12”, 6’ x 6’
Rose Coloured Plot
On this land were and are the overlapping territories of the Katzie and Kwantlen peoples. On this land, stolen by British Columbia, lines were drawn to create Lot 15, a plot of land sold to a Japanese family who farmed transparent apple trees. Interrupted by British Columbia’s plot of Japanese dispossession, lines were drawn to create 12258 224th Street. This same plot of land was then sold to and stewarded for over 50 years by my grandmother. Interrupted again by British Columbia’s scheme of densification. The land is now occupied by a condo development that shadows a lonely apple tree, trapped behind a private property sign.
My grandmother viewed this land through the rose colored lens of her camera and never spoke of its past. But this plot like all land is a palimpsest – many layers, written and erased, that if transparent could possibly connect us to the land and each other.
Rose Coloured Plot
2021
Film transparencies, monoprint on plexiglass, wood frames
(11″ x 14″ x 2″) x 7
Paintings
This series of oil and acrylic paintings on stretched canvas explores scenes from bus trips across Western Canada. Bringing together compositions captured by my grandmother on photo film slides with imagined and playful colour palettes.
The work incorporates a technique of changing the orientation of the canvas, the slide reference and the body in the physical act of painting to capture nuances of the original photographs and imagined psychogeography.
The approach retains expressive marks made in the initial fast paced approach to the underpainting and applies varying brushstrokes and transparency to depict movement and memory.
A Place With Heart
2023
Oil on canvas
22” x 36”
A Place With Spirit
2023
Oil on canvas
22” x 36”
Reveling Is Transparent
2023
Oil on canvas
36” x 56”
December: Don’t Hate Create, Pom Yellow, Cocoa Snow, Sparkle
2023
Oil on canvas
40” x 36”
January: Cuidate, Slightly Selfish, Northwest, Wet Blanket
2023
Oil on canvas
40” x 36”
