Wednesday, May 26, 1993 — North Shore News - 28

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Montgomery provides
commentary (gil
on male sex fantasies |---"™

powerful

- From page 28
“century, a vision that is probably
_more widespread than rnost of us
would care to admit.
lf these intensely myopic draw-
_ ings do indeed provide “a meta-
~ phor for.our time,” as curator
Glenn Alteen observed, it is surely
one couched in a morbid fear of
disease and a fascination with .
what most of us would regard as ©
. “sexual refuse’ that hardly -
merits the bother of a close look.
The degree to which sex has
become a central issue in the cur-
rent art scene is attested to by its
~ canspicuous ubiquity, ©
- Even Cornelia Wyngaarden’s
video installation at Presentation
House, which delves into aspects
of transvestism and transsexuality
in its exploration of the social

conventions of gender stereotypes .

and sexual role-playing, is typical.
It is hardly surprising to
- discover, then,.that the subject of
sex, in a far broader variety of
permutations than covered here,
_ loomed large as the dominant
theme at ECCAD’s grad show this
year.
In Bed Heads and | Wait On
Your every. Word, Daniel! Ellingsen
~ explored male homoerotic in-
timacy in a series of acutely draft-
/smanly paintings of discreet sensi-
_tivity. ;
Steven Haigh’s electronically
wired male nudes, on the other
hand, with their viewer-activated
-mechanical genitals —- press
John’s nipple and watch Ken's egg
beaters grind! — utilized inventive
means and raw humor to com-
pensate for what they lacked in
subtlety.
Elsewhere Evie Katevatis fabri-
cated a campy bordello setting to

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AMONG THE most powerful works to be found anywhere in Van-
couver this year, is Emily Carr grad Lexie Montgomery’s Baby A Special Occasion

contain her Fellini-esque portrait-
gallery of exotic drag queens, a
cheek-by-jowl accumulation of
neo-Romantic paintings adorned
with such colorful titles as Creamy
Kumquats and 20,000 Leagues of
Lush.

Though generally disappointing,
the ECCAD grad show provided at
least one sure winner which alone
would have justified the excursion.

Easily among the most powerful
works to be found anywhere in
Vancouver this year, Lexie Mon-
tgomery’s mesmerizing video in-
stallation and performance piece,

- Baby A Go Go, provided a gripp-

ing commentary on the nature of
child abuse and the baby-doll
syndrome, both male-perpetuated
sexual fantasies that ultimately
reduce women to sexual play-
things.

While four video screens set ina
child's playroom environment
presented laconic images of Mon-
tgomery dancing nude like an ex-
hausted stripper on a string, Mon-
tgomery herself, surrounded by
dolls and ensconced in a glass
booth like a clockwork figure

-designed by Madame Clouseau

mechanically pulled the string on
a hand-held toy as inanimate in

appearance as its operator.

One would be leery of making .
moral judgments of either sexual
practice or its representation in
art, but one thing that would seem
to be obvious from the example of
both is the degree to which they
embody the current and
widespread supremacy of the in-
dividual will over the collective
good, an issue at least as worthy of
the close look Fiona Mowat would
appear to advocate in her studies
of wayward condoms.

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