Flotsam Fixation sculptural work implements non-valuable hierarchy objects and repurposed components from all sorts of tools and items once owned by my parents and other people. These components encase in driftwood and mix with other unrelated components to evoke some inquisitiveness about users and usage. The combinations infuse past amongst present situated within the cross-cultural perspective lens, which strangely defines our countries. The majority of these sculptural works situate upon a wall, with some others supported within plinths.
My mother’s lineage spawned from British Isles, my father’s from around the Baltic Sea. Many of Canada’s and United States ancestors originated beyond. Ancestors set off within a wave of emigration triggered by economic hardships, evictions and religious persecutions for a new life across the ocean. They drifted into our countries through a current of air or water, with desire for land. Over years they aligned within the cultural mish-mash of Canadians and Americans through a gradual shift in attitude, opinion, or position. Our descendent curiosity of ancestral past, within our present, remains unclear and we subsequently observe our heritage abstractly. Our knowledge limits, derived solely from tales and objects of the past; stories, tools, machinery, household items and attire; once used to smooth life.
UNIVERSITY OF CALGARY, MFA
Studio work: three-Dimensional multi-media constructions and installations.
UNIVERSITY OF IDAHO. MA (Fine Arts)
Emphasis on painting, drawing, three-dimensional constructions and collage in
Studio. Thesis topic – “The Validity of Performance Art in the Eighties.”
UNIVERSITY OF IDAHO. BFA
Graduated cum laude from a program emphasizing gallery management, history,
graphic arts, performance art, with a focus on painting. Secondarily involved in Dance program focusing on dance composition, modern, jazz, and ballet technique
classes. Three-year affiliation with performing dance group.
DAVID THOMPSON UNIVERSITY CENTRE
A general University education narrowing into a fine arts specialization
SELECTED – AWARDS/RESIDENCIES
ARNA, THE SPACES BETWEEN - art residency, Sweden
SCOTTISH SCULPTURE WORKSHOP - art residency
THE BANFF CENTRE ‘ALMOST PERFECT’– BNMI residency
THE BANFF CENTRE ‘IMAGINARY PLACES’ –thematic residency
CANADA COUNCIL EXPLORATIONS PROGRAM -- Grant
VISUAL ARTS BRANCH, ALBERTA CULTURE -- Grant
PHI KAPPA PHI HONOUR SOCIETY -- scholastic achievement
MARY KIRKWOOD SCHOLARSHIP -- Artistic achievement
JURIES CHOICE AWARD -- 1984 Undergraduate Exhibition
HELEN PITT AWARD -- Artistic Achievement
PUBLIC COLLECTIONS: City of St. Albert Collection, Prairie Art Gallery Collection, Alberta
Foundation Collection, University of Calgary Faculty Business Collection, Burnaby Art Gallery Collection.
Since initial graduation (BFA, MA University of Idaho) the ‘reluctant nomad’, Tiki Mulvihill, continually alternated between rural and urban communities throughout British Columbia and Alberta. Constant transience activated her art-making strategies requiring commitment, ingenuity and a strong dose of self-motivation towards site-spawned installations, which generated ongoing discourse regarding the supposed truths we humans construct in our conflicted relationships with place.
Over the years, regional activities also extended her role as an artist. Diverse employment as an instructor of art and dance; curating; along with coordination of educational art programs and art collections provided impetus for experimentation in multi-disciplinary, collaborative and community work. Her completion of MFA (University of Calgary) furthered her goal of varied connections through art.
Currently working out of a studio in North Vancouver, Mulvihill creates larger multi-media installations and sculptures while engaging in a number of collaborative and community-based activities
Laffan, Andy, ed, 'The State of Art: Installation and Site Specific #2'. Barehill Publishing, Worcestershire, UK, 2015.
Laffan, Andy, ed, 'The State of Art: Installation and Site Specific #1'. Barehill Publishing, Worcestershire, UK, 2014.
Fremann III, Ray C. and David Francis, Rootbound: Heaven and Earth IV Catalogue. CoCA: Center on Contemporary Arts. August 2012
Seattle Arts Picks, “Rootbound: Heaven and Earth IV (COCA at Carkeek Park, The Stranger.com. June 24, 2012. Volume 21, No.42. Web
Graves, Jen, “Art Eating Park: Dream Catchers Are not Going to Cut it.” Visual Art.The Stranger.com July 10, 2012. Volume 21, No. 44. Web.
Jervis, Carolyn, “Apocalypse Now: Harcourt House’s exhibitions explore destruction and change.” Vue Weekly.com. Sep 28, 2011 Issue #832 Web.
Basha, Regine, An Exchange with Sol Lewitt. Cabinet Books and Mass MoCA, New York. 2011.
Curious, “ Curious in the Eastern Region: Documenta, Kings Lynn, UK. 28-30 June.” Curious @ Placelessness.com. June 2010. Web
Bouchard, Gilbert, “A Quirky Look at Urban Spaces.”
The Globe and Mail, 27 May.2002: R3.
Carson, Chris, Tiki Mulvihill: Stories, Lies and Other Tall Tales. Prairie Gallery, 1990.
LANDLOCKED? (installation), and FLOTSAM FIXATION, (sculptures), Amelia Douglas Gallery, New Westminster, BC
ANCESTRAL DRIFT, (installation), Station House Gallery, Williams Lake, BC
ROSEATE PEEP, (sculpture), Musa International, Madrid, Spain
TALL WALL DRIFT, (sculptures), Parallax Art Fair, London England
DRIFTWOOD EMBEDMENT, (sculptures), Amsterdam Whitney, New York USA
LANDLOCKED? (installation), Grand Forks Art Gallery, Grand Forks, BC
ANCESTRAL DRIFT in BRANCH REFINEMENT (installation), Cityscape Community, Art Space North Vancouver, BC
WALL DRIFTS, (sculptures), World Wide Art-Artavita, New York
VIBRANT DRIFT (sculptures), Biennale D’Arte, Peschiera Del Garda, Italy
TAPER TOUCH, GRISWOLD, FLY!, VESTIGE VIGOR, ADRIFT (sculptures), Metropolitan Gallery and art Museum, Las Vegas
SANDGREN, THE SPACE BETWEEN, site-specific installation, ARNA, Harlosa, Sweden