She may be moved and they multiplied most in exaggeration. (No.2) | Erika DeFreitas
2018
13.5 x 21 inches
Edition of 20, 3 APs
ABOUT THE ARTWORK
She may be moved and they multiplied most in exaggeration. (No. 2) emerges from a new body of work by Erika DeFreitas, produced during a residency in a historic manor in Scotland. Continuing to explore her keen attunement to certain objects—working to access their energies and histories—the Scarborough-based artist has turned to psychometry: a nineteenth-century-born practice of reading an object’s psychic imprint through the act of touch. In the multi-image series of She may be moved and they multiplied most in exaggeration., each print articulates one of DeFreitas’ psychometric gestures: touching, placing, holding, arranging, and rearranging these found artifacts with dedicated care and focus. Together, these images accumulate into something akin to a choreography of intuition, offering an alternative photographic framework for representing histories and memories that could otherwise be left unseen, unfelt.
ABOUT ERIKA DEFREITAS
DeFreitas holds a Master of Visual Studies from the University of Toronto (2008). Her work has been exhibited locally and internationally. In 2017 she was longlisted for the National Gallery of Canada’s Sobey Art Award and she is the recipient of the MacLaren Art Centre’s 2016 John Hartman Award.
Selected solo exhibitions: “Almost, always, at once“, Angell Gallery, Toronto (2018); “to prepare of a longing, an itch“, Y+ Contemporary, Toronto (2018); “like a conjuring”, Platform Centre for Photographic + Digital Arts, Winnipeg (2018); “Impossible Gardens”, Angell Gallery, Toronto (2017); “like a conjuring (bringing water back to Bradley)” The Anchorage Bradley Museums, Mississauga (2017); “; it was in the air, as they say.”, Gallery 44, Toronto (2016); “The Work of Mourning”, Art Gallery of Mississauga, Mississauga (2015); “Deaths/Memorials/Births”, Centre[3] for Print and Media Arts, Hamilton (2013); “In The Bedroom Series”, Gallery 44, Toronto (2009)
Selected group exhibitions: “Over My Black Body”, La Galerie de l’UQAM, Montreal (2019); “Disputed Bodies”, Trinity Square Video, Toronto (2019); “I’ll be your Mirror”, Kitchener Waterloo Art Gallery (2018); “Message in a Bottle”, Zalucky Contemporary, Toronto (2018); “seeping upwards, rupturing the surface”, Art Gallery of Mississauga, Mississauga (2018); “at; into; across”, Grafly Gallery at the Ulrich Museum of Art, Wichita (2018); “Black Borders: Arts of Color, Reframing Culture”, Fort Worth Contemporary Arts, TX (2018)
Selected public collections: RBC Art Collection, Capital One, Royal Victoria Regional Health Centre, Wedge Curatorial Projects, Hart House Permanent Collection, Feminist Art Gallery, Canada Council Art Bank, TD Canada Trust Art Collection
2018
13.5 x 21 inches
Edition of 20, 3 APs
ABOUT THE ARTWORK
She may be moved and they multiplied most in exaggeration. (No. 2) emerges from a new body of work by Erika DeFreitas, produced during a residency in a historic manor in Scotland. Continuing to explore her keen attunement to certain objects—working to access their energies and histories—the Scarborough-based artist has turned to psychometry: a nineteenth-century-born practice of reading an object’s psychic imprint through the act of touch. In the multi-image series of She may be moved and they multiplied most in exaggeration., each print articulates one of DeFreitas’ psychometric gestures: touching, placing, holding, arranging, and rearranging these found artifacts with dedicated care and focus. Together, these images accumulate into something akin to a choreography of intuition, offering an alternative photographic framework for representing histories and memories that could otherwise be left unseen, unfelt.
ABOUT ERIKA DEFREITAS
DeFreitas holds a Master of Visual Studies from the University of Toronto (2008). Her work has been exhibited locally and internationally. In 2017 she was longlisted for the National Gallery of Canada’s Sobey Art Award and she is the recipient of the MacLaren Art Centre’s 2016 John Hartman Award.
Selected solo exhibitions: “Almost, always, at once“, Angell Gallery, Toronto (2018); “to prepare of a longing, an itch“, Y+ Contemporary, Toronto (2018); “like a conjuring”, Platform Centre for Photographic + Digital Arts, Winnipeg (2018); “Impossible Gardens”, Angell Gallery, Toronto (2017); “like a conjuring (bringing water back to Bradley)” The Anchorage Bradley Museums, Mississauga (2017); “; it was in the air, as they say.”, Gallery 44, Toronto (2016); “The Work of Mourning”, Art Gallery of Mississauga, Mississauga (2015); “Deaths/Memorials/Births”, Centre[3] for Print and Media Arts, Hamilton (2013); “In The Bedroom Series”, Gallery 44, Toronto (2009)
Selected group exhibitions: “Over My Black Body”, La Galerie de l’UQAM, Montreal (2019); “Disputed Bodies”, Trinity Square Video, Toronto (2019); “I’ll be your Mirror”, Kitchener Waterloo Art Gallery (2018); “Message in a Bottle”, Zalucky Contemporary, Toronto (2018); “seeping upwards, rupturing the surface”, Art Gallery of Mississauga, Mississauga (2018); “at; into; across”, Grafly Gallery at the Ulrich Museum of Art, Wichita (2018); “Black Borders: Arts of Color, Reframing Culture”, Fort Worth Contemporary Arts, TX (2018)
Selected public collections: RBC Art Collection, Capital One, Royal Victoria Regional Health Centre, Wedge Curatorial Projects, Hart House Permanent Collection, Feminist Art Gallery, Canada Council Art Bank, TD Canada Trust Art Collection
2018
13.5 x 21 inches
Edition of 20, 3 APs
ABOUT THE ARTWORK
She may be moved and they multiplied most in exaggeration. (No. 2) emerges from a new body of work by Erika DeFreitas, produced during a residency in a historic manor in Scotland. Continuing to explore her keen attunement to certain objects—working to access their energies and histories—the Scarborough-based artist has turned to psychometry: a nineteenth-century-born practice of reading an object’s psychic imprint through the act of touch. In the multi-image series of She may be moved and they multiplied most in exaggeration., each print articulates one of DeFreitas’ psychometric gestures: touching, placing, holding, arranging, and rearranging these found artifacts with dedicated care and focus. Together, these images accumulate into something akin to a choreography of intuition, offering an alternative photographic framework for representing histories and memories that could otherwise be left unseen, unfelt.
ABOUT ERIKA DEFREITAS
DeFreitas holds a Master of Visual Studies from the University of Toronto (2008). Her work has been exhibited locally and internationally. In 2017 she was longlisted for the National Gallery of Canada’s Sobey Art Award and she is the recipient of the MacLaren Art Centre’s 2016 John Hartman Award.
Selected solo exhibitions: “Almost, always, at once“, Angell Gallery, Toronto (2018); “to prepare of a longing, an itch“, Y+ Contemporary, Toronto (2018); “like a conjuring”, Platform Centre for Photographic + Digital Arts, Winnipeg (2018); “Impossible Gardens”, Angell Gallery, Toronto (2017); “like a conjuring (bringing water back to Bradley)” The Anchorage Bradley Museums, Mississauga (2017); “; it was in the air, as they say.”, Gallery 44, Toronto (2016); “The Work of Mourning”, Art Gallery of Mississauga, Mississauga (2015); “Deaths/Memorials/Births”, Centre[3] for Print and Media Arts, Hamilton (2013); “In The Bedroom Series”, Gallery 44, Toronto (2009)
Selected group exhibitions: “Over My Black Body”, La Galerie de l’UQAM, Montreal (2019); “Disputed Bodies”, Trinity Square Video, Toronto (2019); “I’ll be your Mirror”, Kitchener Waterloo Art Gallery (2018); “Message in a Bottle”, Zalucky Contemporary, Toronto (2018); “seeping upwards, rupturing the surface”, Art Gallery of Mississauga, Mississauga (2018); “at; into; across”, Grafly Gallery at the Ulrich Museum of Art, Wichita (2018); “Black Borders: Arts of Color, Reframing Culture”, Fort Worth Contemporary Arts, TX (2018)
Selected public collections: RBC Art Collection, Capital One, Royal Victoria Regional Health Centre, Wedge Curatorial Projects, Hart House Permanent Collection, Feminist Art Gallery, Canada Council Art Bank, TD Canada Trust Art Collection