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Shannon Collis
updated: 04/02/2012
website: www.shannoncollis.ca
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Atlas2
Atlas 1
Atlas3
Atlas 4
Installation view (Stasis series)
Atlas 5
Atlas 6
Atlas 8
Installation view
Strata
Untitled
Strata
Untitled
 
 
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Atlas2 by Shannon Collis
Atlas2
Wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Atlas 1 by Shannon Collis
Atlas 1
Wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Atlas3 by Shannon Collis
Atlas3
Wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Atlas 4 by Shannon Collis
Atlas 4
Wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Installation view (Stasis series) by Shannon Collis
Installation view (Stasis series)
wax, collage
2006
Dimensions variable
Atlas 5 by Shannon Collis
Atlas 5
Wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Atlas 6 by Shannon Collis
Atlas 6
wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Atlas 8 by Shannon Collis
Atlas 8
wax, collage, relief and lithography on paper
2007
14.5" x  11.5" 
Installation view  by Shannon Collis
Installation view
wax, collage, relief and lithography on paper
2007
Dimensions variable
Strata by Shannon Collis
Strata
relief, lithography, collage, digital output
2007
11.4" x  10" 
Untitled by Shannon Collis
Untitled
relief, lithography, collage, digital output
2007
11.4" x  10" 
Strata by Shannon Collis
Strata
relief, lithography, collage, digital output
2007
11.4" x  10" 
Untitled by Shannon Collis
Untitled
relief, lithography, collage, digital output
2007
20" x  36" 

Artist Statement

Contemporary philosophical and psychological theorists insist that memories are constituted of cultural and personal dispositions. Rather than persisting as a fixed record in the mind, memories
amount to ‘traces’ or ‘representations’ that link experiences with recollections of those experiences.The philosopher John Sutton, for instance, suggests that “memories are blended, not laid down independently once and for all, and are reconstructed rather than reproduced.”1 My own fascination on the subject explores the constructive nature of memory and the inevitable gap that takes place between an original experience and later recall.

I am particularly interested in Tony Bennett’s visualization of memory as a palimpsest, as a repository “that retains all impressions yet offer[s] itself constantly as a clean surface upon which new inscriptions [can] be made.”2 The concept of memory functioning as a palimpsest implies diverse layers beneath the surface, which are at the same time changing and connected. In my opinion this understanding of memory demonstrates a corollary in different media technologies. For example, the photographic process immediately produces a gap between an actual experience and the resulting image. In effect, digital representations function in the same way, but since digital imagery can be manipulated and modified indefinitely, the relationship between reality and representation can become
unstable or even lost.

My research focuses on the combination of digital technology, traditional printmaking and photographic techniques. In each physical layer and virtual manipulation, the remaining image is a
record of past processes. As a result, my prints explore states of authenticity and fiction and how they become inseparable during the reconstructive process.

1 John Sutton, Philosophy and Memory Traces: Descartes to Connectionism, Cambridge: Cambridge University Press 1998

2 Tony Bennett, “Stored Virture: Memory, the Body and the Evolutionary Museum” in Susannah Radstone & Katherine Hodgkin, Regimes of Memory, New York: Routledge 2002

Artist Bio / CV
www.shannoncollis.ca