Click here to read an essay by Robert Epp. Click here to read an essay by Dr. Jeanne Randolph. Click here to read an essay by Cliff Eyland. Click here to see a list of works in the exhibition. Click here to view images of Gordon Lebredt's work. Click here for a commentary by Robert Epp on Gordon Lebredt's "white walls:black holes" Click here for an addendum by Gordon Lebredt on his "white walls:black holes" Click here for images by Gordon Lebredt from "white walls:black holes"

<> ABOVE: Gordon Lebredt, Source/Source. Photo credit: Ernest Mayer. (Note: To navigate please click arrows or image.) 21 Source/Source 1977 offset lithograph 55.9 x 27.9 cm Collection of Gallery One One One School of Art, University of Manitoba, Winnipeg; Gift of Gordon Lebredt (05.004). Lebredt comments that it could be said that “Title: not specified was initiated in order that Source/Source could be completed; thus, any photo documentation of the painting would be indistinguishable from the photo-source.” In this work Lebredt has reproduced an image of the source photograph (on the right) for Title: not specified, and an image of a photograph of the painting. Here he has conflated the distinction between painting and photography, making it difficult to tell if the photograph was the source for the painting or vice versa. As Lebredt points out, “once you take a photograph of the painting you're back to the photograph.” Among other photorealist painters of the time, such as British artist Malcolm Morley and American painter Chuck Close, Lebredt acknowledges in particular the influence of Canadian painter Jack Chambers and his theory of “perceptual realism.” Chambers' use of the gridded photograph as a source for making paintings is reflected in Source/Source, and it became Lebredt's standard practice to grid the canvas when it came to making paintings such as Epokhé, Title: not specified, and Ripple Rock Blowup.(See Lebredt's unfinished canvas for Natural Facts: Red X Yellow X Blue.)