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The upcoming exhibition, Terminal City Re-wired, features the recent work of Architect and Visual Artist Peter Ridgway. It is in part a response to the universal question of what our collective futures hold for us as a society of 7.2 billion people on this spaceship, we call mother earth. Part story telling, part visioning, a perspective of transformation evolves out of the work that ties into recent events; scientific discoveries of the intricate workings of the brain, our ability to communicate our thoughts electronically and what these might mean in an evolving world.
Originally from Toronto, Ontario, Peter’s particular style is a fusion of art and architecture
in thought, composition and colour.
In the painting, The Raven, the bird sits perched on a bow of a giant Douglas Fir tree nudging at the human forms spelling out “Terminal Avenue” in modern day Vancouver. His mischievous history tells the story of how he brought light into this world. As a transformer he waits for us to join in and awaken to a new world. The geographical map of the City of Vancouver forms his presence. His perspective of the world is from above and is mirrored through many pieces of the exhibition; buildings viewed from above, Our lady of the Assumption Parish Church, images from the sky, Between Spheres of Influence, and spaces hovering above our Biosphere. The artist calls upon the Raven’s transformative nature to assist us in our evolution into the Noosphere and further recognizing that this work is been shown on traditional Coast Salish land. The Noosphere is a concept used by Vladimir Vernadsky and Teilhand de Chardin in the mid 1800’s to denote the “sphere of human thought”. In the original theory of Vernadsky, the Noosphere is the third in a succession of phases of development of the Earth, after the Geosphere and the Biosphere. The artist explores how that evolution might look.
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