Julia Callon is a photo-based artist who recently graduated from Ryerson University's School of Image Arts with a BFA in Photography (Dean's List). She's had solo shows at Camera, the I.M.A. Gallery, The Gladstone and at the Living Arts Centre in Mississauga. Her work has been included in multiple group exhibitions across the city, and has been featured in print and online, including profiles on Yahoo, Photo Life, Flavorpill and The Atlantic. In her final year of studies at Ryerson, Julia received the JF LeClerc Production Award, and in 2011 she won "Best in Show" at both Maximum Exposure and Full Frame at I.M.A.
Current Series (in Progress)
In this newest series by Toronto-based Julia Callon, she has constructed small scale models of places that we consider to be “necessities” of life (a bank, a grocery store) and wreaks havoc on our sense of order and routine. She disrupts our comfort zone to take a closer look at our culture of abundance and excess.
“Supermarket” and “Royal Bank” are a hybridization of photography and constructed small scale models, that represent otherwise highly organized places in a state of chaos and disarray. Julia hand made 90% of everything you see, except for the grocery cart and a few chairs, which she bought from a model supply company online. She measures each item to scale, and fastidiously places them within the set, using fishing line and wire. For the production of “Royal Bank,” Julia cut out individual dollar bills to scale, and tossed them into the scene over a hundred times until the shot was perfect.
Houses of Fiction
Whether domestic spaces are depicted as places of confinement or refuge, the ‘private sphere’ is an evident preoccupation for many nineteenth-century female writers. Often a reflection of women’s ‘place’ in society, the stories depicted in this series demonstrate the metaphorical and literal significance of space; each diptych is also a visual interpretation of the dichotomous representations of women in four separate works. Borrowing partially from literary criticism, this series attempts to synthesize ideas and images through the process of interpretation and adaptation.
“Wuthering Heights No. 1” explores the representation of Catherine Earnshaw as subservient and docile ("sane"), while the chaos of “Wuthering Heights No. 2” simultaneously conveys Earnshaw's descent into madness and her literal and figurative liberation. The suspended furniture represents the weightlessness of the character's body through self-starvation while the feathers represent the metaphorical freedom achieved through the maddening act of tearing apart pillows, thus, freeing the feathers trapped within.
Ryerson University, School of Image Arts, Photography BFA.
Immoderation, Living Arts Centre, Mississauga
The Annual: Shifting Ground, Gladstone Hotel, Toronto
Houses of Fiction, I.M.A. Gallery, Toronto, ON.
[UN] REAL, Camera, Toronto, ON.
Letusgo, Huntclub Studio, Toronto, ON.
The Art of the Archive, Ryerson Image Centre, Toronto, ON.
Maximum Exposure, Gladstone Hotel, Toronto, ON.
Function Reawakening, Ryerson University Image Arts Building, Toronto, ON.
Full Frame, I.M.A. Gallery, Toronto, ON.
Maximum Exposure, Third Year Show, Meta Gallery, Toronto, ON.
75%, I.M.A. Gallery, Toronto, ON.
Full Frame, I.M.A. Gallery, Toronto, ON.
Nos Una, Cryptic Canvas, Toronto, ON.
The Ryersonian, September 19.
CONTACT festival magazine, promotional image for Maximum Exposure.
Ryerson University Magazine, June 2012, Toronto, ON.
Maximum Exposure, Sponsorship Package.
The Eye Opener, Volume 25, Issue 21, Toronto, ON.
Function, Issue 13.1, Toronto, ON.
Function, Issue 12, Toronto, ON.
Lost at E Minor
Le Projet de Amour
Hou Hou Haha
Canadian Art Junkie
Wondereur 2012 Collector’s Set
Wondereur-featured artist No.14 (recommended by Sara Angelucci)
LoveArt Fair Toronto 2014 Blog
Awards and Honours
JF LeClerc Production Award
Dean’s List, Ryerson University.
Full Frame, "Best in Show", I.M.A. Gallery, Toronto, ON.
Maximum Exposure, "Best in Show", Meta Gallery, Toronto, ON.