Early Work

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The Wheeler Hut Expedition lasted seven days in late August 2000. Six artists participated in a remarkable adventure, a creative laboratory, centered at the Alpine Club of Canada's Wheeler Hut, in the Rogers Pass region of Glacier National Park. Placing contemporary Canadian artists in the back-country to create new ways of seeing mountain landscape has become a signature program of the Whyte Museum. The use of the 19th century traditional arts expedition mode, which historically places artists in the field together for a short while and returns them to their solitary practice, has provided an extraordinary opportunity for artistic expression.
– The Wheeler Hut Expedition, Whyte Museum of the Canadian Rockies, 2001, Banff Alberta.

Travel Images

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"These photographs are located within vistas of culture and the built environment, but are more than a vernacular/tourist shot, the memento or picture-trophy. The prolonged exposure time - three, five or ten minutes - is a transformative process that is inseparable from the alchemical process and phenomenon. The photographic moment can, by extension, be equated to the time it takes to hear a song, recount a story, read a letter, or remember how you got there, and back."
– Ihor Holubizky. Catalogue text from the exhibition Dianne Bos; In the Province of Memory, 1993 at the Art Gallery of Hamilton.

Early Work - Jet Wings
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"When the artist is moving along with the subject depicted , had the sensation of movement been captured? To create "Jet Wing, Over the Prairies", Dianne Bos employs a process that's dependent on movement, but here, the lack of. Bos uses the most basic of photo-techniques at her disposal, a pinhole camera, a box with a small hole on one side that functions as a lens to focus an inverted image on the box's opposite side. Its use requires the photographer and subject to be absolutely motionless, or in this case, still, within a structure in motion. The work required a prolonged exposure period of four minutes, during which time Bos pressed and held the box/camera up to the airplane window, capturing the wing as a seemingly motionless object, although it was moving at five-hundred miles an hour. Restricted by technique, Bos has produced what might be considered an ersatz movement, framed not by the usual instant moment of the camera, but by speed, time, and her compositional seat on the plane."
– Craig Wells, "On Movement", 2000, an exhibition for the TH&B-Hamilton GO Centre from the collection of the Art Gallery of Hamilton, Ontario.