Talk:Lucy Pullen

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moved uncited material off main space[edit]

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The use of silver reappears throughout Pullen's work. Examples include, a silver print of the artist in a reflective silver skirt Flash, 1999; a series of drawings made on metallic paper Portal, 2002; and a rope sculpture covered in the same light-sensitive Scotchlite material called The Thing, 2003; and Ladder and Ladders, both 2003, which also involve the eponymous being covered in Scotchlite material.

Pullen's work has been the subject of solo exhibitions at the Henry Art Gallery (Seattle, 2011), Artspeak (Vancouver, 2010), The Contemporary Art Gallery (Vancouver, 2003), Art Metropole (Toronto, 2006) and Eye Level Gallery (Halifax, 1997). She has exhibited with Thread Collective (New York, 2015), Library & Archives, National Gallery of Canada, Ottawa), Mount Saint Vincent University Art Gallery (Halifax, 2009), Helen Pitt Gallery (Vancouver, 2001), Beaver College (2000), Optica (Montréal, 1999), and St. Mary's University Art Gallery (Halifax, 1997). Her works were included in survey The Festival of Independents, Tate Modern (London, 2010), How Soon is Now, Vancouver Art Gallery (Vancouver, 2009), Ten by Twenty, Yerba Buena Center for the Arts (San Francisco, 2004), and Art Papers, Art Gallery of Nova Scotia (Halifax, 1997).

Crossover projects include 100 Closest Stars (2016) with Stuart Lynn in Brooklyn, The Perfect Solids (1996) with Professor Pat Keast in the Dept. of Mathematics & Statistics at Dalhousie University in Halifax and The Cloud Chamber (2011) with Dr. Justin Albert and the Dept. of Physics & Astronomy; a freestanding detector-sculpture for viewing cosmic rays in real time with the naked eye.