With the opening of their collaborative exhibition, "Not Lost But Found," on the horizon, artists John Notten, David Hill, Peter Fyfe and Brendan Duggan connected with Quest to delve further into their body of work. Read the full interview to learn more about their inspiration for "Not Lost, But Found," recurring motifs and symbols found in their work, challenges they faced, and memorable moments bringing this unique showcase to life.
"Not Lost But Found" opens in the Main Gallery at Quest on Friday, November 1st, 2024. The Opening Reception will take place from 7:00 PM to 9:00 PM, and all are welcome to attend!
Tell us a bit about yourself and your background in the arts.
Peter - I’m a low-key professional artist, and by that, I mean I’ve done academic work (York University BFA and the Banff School), and I’ve been prolific over the years, but for various reasons, it’s only the last few years that I’ve been exhibiting. Originally from Kingston, I’ve lived in Orillia for the last 25 years but spent most of that time teaching at Gravenhurst High School. This is my second showing at QuestArt in Midland. My assemblage work has explored everything from the RCMP in Canadian lore to the depiction of the figure in mass media and, most recently, the place of the canoe in our psyche.
David - Most of what you need to know is in our artist's statements, but the short version would be that I have been a commercial photographer for 35+ years but more recently excited to produce assemblage/sculpture pieces from old, discarded and forgotten debris that we all accumulate.
John - For over 30 years, I was privileged to work with extraordinary young artists as a High School Visual Arts teacher. They, along with so many other people and places, offered inspiration for my ongoing art practice. Now, as a full-time artist, I can direct my full attention to creating large-scale installations, mostly within the public realm.
What was the inspiration behind your current exhibition and the themes that you explored in your artwork?
Peter - As the organizer, I wanted to bring artists together who share a similar approach to artmaking in how they used ‘found’ materials, most often nostalgic or vintage to some extent, and put them together to say something larger - a comment on sustainability, encouragement on Indigenous land, or even just a wry, humorous approach to the stuff of our lives. Then, it was a matter of encouraging a similar approach thematically so that we could have a coherent exhibition.
David - This, for me, was a much more structured adherence to a specific theme. Most often, my approach is loose and spontaneous. This partly comes from my reaction against the rigours of client-based photography, where often someone else is calling the shots or an art director has control. The inspiration is storytelling and presenting a new point of view.
John - For Not Lost but Found I have created a new installation that occupies the central floor space of Quest Gallery. Using a variety of materials commonly found in the world of ‘leisure culture’ (propane tanks, gas cans, an outboard motor, water toys and many, many pool noodles), I am offering the viewer an opportunity to consider their relationship with the environment.
Brendan - Part of my methodology is taking apart objects from my landscape and trying to reassemble them into my cultural identity. I grew up in a middle-class suburban neighbourhood, and I like to poke fun at it. I can spend significant time sifting through garage sales, thrift shops, abandoned buildings and anywhere else I think I won’t be arrested.
How do you approach the creative process when developing a body of work for an exhibition?
Peter - I hunt for objects at thrift stores and antique markets, or online, or even at the end of people’s driveways. Once I find these pieces, I spend time with them, letting their unique qualities and histories sink in. I turn them over in my mind, exploring how they might interact, especially with new contexts and associations. It’s a process of listening to what each object has to say and then envisioning how I might reshape or reframe that story. Ultimately, I decide how to integrate these elements into a cohesive new narrative—one that feels both connected to the past and reimagined for the present.
David - Pretty much ditto
John - As a long-time art teacher, I have offered my students countless challenges and assignments through which they could explore materials, approaches, and concepts. Peter’s invitation for me to participate in this exhibition offered a similar assignment. His challenge was to reimagine, reconfigure, and re-work objects that are often considered ‘lost’ (discarded, with their value diminished) and ‘find’ them again. That is, it gives them a new life and an opportunity to be investigated in a fresh way. In my work, old pool noodles become a cascading river. This approach, in which the old becomes new again, seamlessly aligns with my creative process.
Are there any specific techniques or mediums you employed in this exhibition, and how do they contribute to the overall artistic expression?
Peter- I’m looking to gather and arrange older, discarded objects that resonate - they have a nostalgic charm or seem very ‘old cottagey,’ a bit banged up, and don’t look ‘off the shelf.’ These things have a history and character that feel authentic, often showing signs of wear and use that make them distinct from anything you’d find brand-new. I’m able to corral all that into what's called an assemblage, which is a process similar to 3d collage. I feel we four artists have this way of expressing ourselves in common. We are reacting to how society discards what can be made important again.
David - The building of these assemblages for me is very influenced by the Art Brut, or Outsider Art, which has been revealed much more in the last few decades. The rough and unrefined combination of all the objects that Peter described so well.
John - In my work for this show, I discovered the wonderful possibilities of the humble pool noodle. While it might never be considered a traditional art medium, it is very receptive to being transformed as it holds some wonderful qualities that allow it to be twisted, melted and painted. At the same time, I became interested in the juxtaposition of this toxic, plastic material with natural materials and images. Ultimately, I’m always interested in allowing material to be considered in a new way and reveal its true (or alternate) identity.
Are there any recurring motifs or symbols in your artwork that hold personal significance to you, and if so, how do they manifest in this exhibition?
Peter - I’m known, and I do this consciously, for referencing canoes in my work, whether it is these collages or my other paintings. I try to fit a toy diecast car into each work. With a canoe on their roofs, they represent the explorer, the tourist, the colonizer, and now a signature to my work. In this exhibition, these motifs serve different roles. In some pieces, they celebrate the adventurous spirit of tourism and the desire to preserve nature’s beauty. In others, they take on a more critical tone, questioning the legacy of exploration and the unintended consequences of opening up the land to new influences. This duality allows me to explore the complex relationship between discovery and exploitation, inviting viewers to reflect on what it means to travel, claim, and transform a place.
David - You will see some themes that, for me, come out of the availability of materials. One very easy-to-find object is cookware “Pots and Pans”. So I developed “Pot Heads,” which, in a way, are my human reference point. Also, in this specific exhibit, the postcard became a visual reference that was photographic as well as historical. Again, the human reference point.
John - Like Peter, I’m very interested in those objects and materials we commonly associate with the ‘weekend getaway.’ Camping, cottaging, and watercraft activities are activities we all enjoy. But my hope is to offer a contemplation on how these leisure activities that we take for granted have consequences, both historically and today. In the end, I’m drawn to these recurring materials, objects, and themes because I’m constantly searching for a deeper understanding of my (our) relationship with the landscape.
Brendan - Additive sculpture is something I explore regularly. Themes revolving around fishing lures, outboard motors, and insects are always being explored. I enjoy collections and collecting, especially those that reflect my cultural identity.
How did you navigate the balance between artistic freedom and conveying a specific message or narrative in your work for this exhibition?
Peter - In my work, I aimed to strike a balance between artistic freedom and conveying a specific message about the need to cherish the environment and elevate our sense of vigilance. After all, I think most people in Midland appreciate that the environment needs to be cherished and our guardianship taken up more than a notch.
David- This narrative topic was guided by a place of remembrance and mostly good vibes that occur from our leisure and travel time.
John - I would like to think that my artistic freedom is never dictated by a need to convey a specific message. I try to work intuitively, bringing objects together in a fluid, spontaneous way so that I don’t have to worry about conveying a specific message in my work. Whether I achieve this is another story. I am, after all, a long-time teacher, always looking for an opportunity to educate.
Brendan - I tend not to censor myself at the start of a process. Trying to resolve the issues through complete freedom and edit out the dross afterward.
Were there any challenges you faced during the creation of this exhibition, and how did you overcome them?
Peter - Our biggest challenge did not really rear its head as insurmountable at all - getting four individualistic creative minds to contribute new and existing work that is cohesive. Over the past year, I feel we were challenged by each other to create new work in somewhat new ways rather than relying on existing approaches. Living far from each other, we travelled some, texted lots, and shared files.
In what ways do you hope your audience will engage with and interpret your artwork within the context of this exhibition?
Peter - I aimed for an engaging, non-didactic approach to encourage deeper appreciation without a lecture, yet I was open to discussion. I hope people will come to the exhibit and be prepared to spend a good 30 - 40 minutes marvelling at our creativity, enjoying the overall feel of the show and the spectrum of work between amusing and thought-provoking.
David - Yes, indeed, a minimum time to experience the exhibit should be a requirement. Ha Ha
John - I believe the work in this exhibition invites a consideration of the inherent value and meaning of common objects otherwise disregarded. In essence, I hope the audience will engage in the work by being open to the possibility that many objects are not lost but are, in these surprising configurations, newly found.
Can you share any memorable moments or experiences from the process of bringing this exhibition to life?
Peter - Spending time with the other
artists whenever possible has been a blessing. I’ve become aware of other artists in the meantime who could, perhaps, have been included in an even bigger show, but regrettably, time and space have a way of excluding some pathways over others. The positive is how great John, Brendan, and David have been to work with and get to know each other more closely.
David - The opportunity to create a new community of fellow creatives is the best takeaway.
John - Connecting with other artists and their varied approaches offers inspiration for one’s own work.
Are there particular artists, movements, or historical influences that have informed your creative approach for this exhibition?
Peter - I recognized in Joseph Cornell, known for intricate shadow boxes and assemblages, my own roadmap for using found objects, vintage images and such. His work often features themes of nostalgia, arranged in small, glass-fronted boxes that evoke a sense of wonder and mystery. He drew inspiration from surrealism and was particularly known for transforming everyday objects into poetic, dreamlike compositions. My own work tends to gravitate more to pop art in meaning and colour, however, and in the references to culture, like the inspiration I take from the 1967 cover of ‘Sgt. Peppers Lonely Hearts Club Band’ by pop artists Jann Haworth and Peter Blake.
David- DADA, for sure. And the respect for the past and, at the same time, willingness to create a new version of our history as mankind.
Quoting Jerry Saltz...
..replaced by a new model of evolution that is more like an ever-changing cloud formation, expanding, condensing, never predictable.”
Brendan - Hans Belmer, Rene Magritte and Canadian Kim Adams. I relate to The existential and Dadaist and Brutalism movements.
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