Past Exhibitions 2012
Dianne Bos / Ania Biczysko / Shayne Dark - Vestige
IMAGE: La Porte, Barn with two openings, 2012
40" x 40", silver gelatine print, edition of 15
December 1, 2012 – January 6, 2013
Opening Reception: Saturday, December 1, 2-4pm
*with special tribute to the late Randall Tiedman
These architectural photographs by Dianne Bos are mysterious, seductive and evocative. For this series of new images, Bos has used a vintage Rolleicord camera to capture the light and texture of an ancient barn structure in south west France. Aged walls, delicate shadows and light passages evoke a sense of time, history and memory -"vestiges" of many lives, soulful and poignant.
IMAGE: Leaving the Solar System I, 2012
42" x 80", reverse oil painting on plexiglass
The elusive atmospheric reverse oil paintings on plexiglass by Ania Biczysko are delicate reminders of the environments surrounding us. Buoyant and at the same time slightly out of are grasp, dreamlike and seductive.
IMAGE: Bough laden with Black, 2012
63" x 23", forged steel, powder coated polyester paint
The powder-coated steel "Boughs" by Shayne Dark, executed in joyful, animated colours of apple green, fluorescent orange and stately black are deceptive of their material. The almost skeletal shadows they project on the wall seem to dance and vibrate, suggesting the illusion of an active forest.
New works by Melissa Doherty, Angela Grossmann and Nada Sesar-Raffay
IMAGE: Melissa Doherty, Blue Spruce I, 2012
60" x 60", oil on canvas
December 14, 2012 – January 6, 2013
IMAGE: Angela Grossmann, Scrolls, 2012 - mixed media on piano scrolls
IMAGE: Nada Sesar-Raffay, New York and Maple Leaf Poolroom, 2012 - 60" x 60", oil on canvas
IMAGE: Deep Water Carousel #2, 2011
40" x 56", acrylic and oil on Stonehenge paper
Randall Tiedman – In Memorium
November 28 – December 1, 2012
On November 4th Randall Tiedman passed away in Cleveland, Ohio at the age of 63. We will honour his memory and his outstanding work in the north gallery from November 28 – December 1, 2012.
IMAGES: Veil 2012
Arabesque, 2012; photography
October 13 – November 3, 2012
Opening Reception: Saturday, October 13, 2-5pm
The gallery is pleased to present an exhibition of new work by Catherine Heard, opening Saturday, October 13, from 2-5pm. The exhibition will feature sculpture and, for the first time for Heard, photographs. Continuing her protracted inquiry into the history of the body as a site of anxiety, and material techniques that also have roots in historical convention, here, the work combines ritual and memorialization intersected with the problematic of identity. Proceeding from the complex symbolism of the veil or shroud and the ritualized aspect of Victorian memorial hair art, Heard’s work sets up an uneasy tension between observing life into death and the consequent anonymity as a result of disembodiment and concealment.
The veiled, sculptural heads intertwine both the contours of veil and face into a singular texture, making even the gender of the subject difficult to discern. Similarly, the locks of hair coaxed into arabesque forms in the photographs reveal nothing of their original wearer, though strongly resonate a coded identity. Heard looks at how, in signalling or observing a death, ornament can obscure identity yet still endure as a mark of remembrance.
IMAGES: Sticky, oil on linen , 36" x 48", 2012
The Classical Gaze, oil on linen, 72" x 54", 2012
October 13 – November 3, 2012
Opening Reception: Saturday, October 13, 2-5pm
Recently acquiring International media attention for her controversial allegorical painting of the Prime Minister in the historic pose of "Olympia" by Manet, Margaret Sutherland is a shrewd observer of the human condition. Sometimes satirical and sometimes reverential, she explores the dynamics of contemporary interaction through her realistic portraiture.
A Master Graduate of the New York Academy of Figurative Art, her work is technically concerned with the practices of the Old Masters, using the traditional elements of geometry, drawing and multiple oil glazes, usually on linen canvas.
From the Ground Up
September 7 – October 6, 2012
Opening Reception: Friday September 7, 6-9 PM
The gallery is pleased to present the work of American artist Randall Tiedman, opening on Friday, September 7 from 6-9pm. With his large-scale paintings, Tiedman depicts industrial sites of environmental compromise – scarred terrain masking subterranean worlds of manufacturing carnage. His works are a visceral proclamation to post-industrial blight that continues to swell from the ground, in a futile effort to reach the sky.
Randall Tiedman, based in Cleveland, Ohio, has exhibited extensively in North America. His works are in the permanent collections of several museums, including the Albright-Knox Art Gallery, Butler Institute of American Art, and Erie Art Museum.
In the north gallery, the gallery is pleased to present new sculpture by Ania Biczysko. From her Cloud Series, Biczysko’s stainless steel works stretch skywards from thin tripod legs to culminate in clear, reflective cloud formations. In reaching for the clouds, Biczysko encourages the viewer to consider the limits of the sky.
Ania Biczysko, based in Toronto, Ontario, has participated in several exhibitions in North America and Europe. Her sculpture is held in numerous private collections in Canada, USA, Poland, and Norway.
IMAGES: Yves Arcand, Ogunquit, Maine, USA; Dianne Bos, Plage, Narbonne, France; Howard Podeswa, Chatter, courtesy Wynick/Tuck Gallery; Sandra Rechico, Rotterdam Proposal 1.
Curated by Claire Christie
July 26 – September 1, 2012
Opening Reception: Thursday July 26, 6-8 PM
Please join us on Thursday, July 26, 6-8pm, for the opening of Peripheries, featuring the work of Yves Arcand, Dianne Bos, Howard Podeswa and Sandra Rechico.
Peripheries, as part of a spatial construct, demarcate the outer edges of an area, and are often deemed secondary to a primary core. As sites of transition, however, peripheries are a locus of activity influenced by, yet independent of their bordering terrain. Each of the artists in this exhibition investigates and prioritizes this charged space, fixing on the peripheral to reveal the unique and hybrid complexity of this kind of zone, one in which shifts and gaps and fluidity are constantly at play.
A Year in My Arts & Crafts Garden
Extended to July 21, 2012
Opening Reception: Thursday, May 31, 6-9pm
Opening on Thursday, May 31, from 6-9pm, the gallery is pleased to present the work of Elaine Waisglass. Comprising a suite of photographs and a 20-minute, single channel video, this exhibition is the culmination of a 17-year work in progress which found its beginning with the restoration of a century-old Arts & Crafts house and garden in the enclave of properties that form Wychwood Park in Toronto. Following the restoration of the home itself, Waisglass undertook to create a garden authentic to the tenets of the Arts & Crafts movement, as the house was designed by renowned Arts & Crafts architect Eden Smith. William Morris, lead proponent of the Arts & Crafts movement, promoted its defining concern as the “mutable moment,” arising from the desire for beauty quickened by the sense of death. This underlying principle, in combination with Waisglass’s deepening interest in the movement and her ongoing photographic documentation of the developing plan of the garden, gave way to the project, A Year in My Arts & Crafts Garden.
The photographs in this exhibition celebrate nature’s potency and weave a collective image of that “mutable moment,” variably picturing through the seasons the exterior garden, the interior still life, or nature morte, and portraiture. Through Waisglass’s lens, the documentary becomes cinematic with richly intense images that hover at the threshold between the real and the impossibly real. The still life compositions appear almost painterly in their capturing of the arrested moment, the fullness of the blooms belying their state of expiration that began at the moment of gathering them from the garden. And it is this kind of durative compression that characterizes Waisglass’s compelling images, wherein the moment, while fixed, brims with the promise of a history.
May 3-26, 2012
Opening Reception: Thursday, May 3, 6-9pm
Opening on Thursday, May 3, the gallery is pleased to present new paintings by Melissa Doherty. Doherty has consistently directed her focus to the landscape, though her intention has never been to translate a bucolic idealism. Bypassing the cultivated or “scenic” view, Doherty effectively adjusts the viewing distance, telescoping out to a schematic plan—as in the aerial views—or amplifying the features of one of landscape’s chief components—trees. In both instances, Doherty paints in meticulous detail, heightening realism to an almost palpable extreme where one feels a vertiginous tug looking at the aerial vignettes and tempts at touching the leaves rustling on the surface of her canvases.
Working from photographs as reference point, Doherty achieves these intricately rendered surfaces by imagining techniques used by painters during the Renaissance, painting in layer after layer of paint and glaze, attaining an almost sculptural clarity in cumulation. With this exhibition, Doherty applies this to intensity, and returns to an earthbound view with leaves in cascading formations, trees almost ambiguated but for the hint of trunk and the protruding, leafy extensions of branches. Having a distinctly anthropomorphic quality, the ‘subjects’ of Doherty’s paintings are at once familiar and unknowable, echoing our ongoing—and psychologically complex—relationship to nature.
April 5 – April 28, 2012
Opening Reception: Saturday, April 14, 4-6 PM
Peter Hill considers all of his work, in every medium, to be a rendering of “landscape.” The photographs he has shown over the past two years have been highly magnified studies of small sections of paintings in progress. By juxtaposing the photographs and the paintings from which they were derived, Peter introduced the unsuspecting viewer to a new dynamic in looking and seeing. Once the correlation between the painting and the photograph had been established, the fascinated observer was invariably drawn to re-view the painting, aware that a closer look would reveal new dimensions.
With this exhibition, Peter again presents an interrelation between the two approaches, though here the source painting for the photographs is not featured. Instead, he invites the viewer to explore the individualized landscape of the worlds created in both the photographs and the paintings—to notice what is noticed, to go further by going deeper, to experiment with points of view—compelled here by the differences as opposed to an index of similarities.
The natural elements relate to one another in ever-shifting patterns that may reflect the weave of the mental, emotional and spiritual worlds in which we simultaneously interact as we live and breathe and find our being.
M.C. Richards, a potter and a poet, has described these transformations and their significance in words that resonate with Peter’s metaphysical perspective:
“The craftsman experiences Form as a continuous force. He experiences how forms come, unsummoned. How matter itself, when it is imbued with life in his hand, continuously takes form. Once we know in our flesh that the world is imbued throughout with formative energy, we begin to experience how alive the world is, the air is, the earth is, we are. How full of possibilities. Once we begin to grasp how illusory are our certainties and uncertainties, we can begin to enjoy our doubts as symptoms in the process of knowledge.”
M.C. Richards, Centering in Pottery, Poetry and the Person Second Edition (Middletown, Conn.: Wesleyan University Press, 1989), p. 115.
February 25 – March 24, 2012
Opening Reception: Saturday, February 25, 4-6 PM
Edward Day Gallery is pleased to present an exhibition of new work by Shayne Dark, opening on Saturday, February 25 from 4-6 PM. Shayne Dark's sculptural work has consistently taken form as an eruption into space, the works having a dense and often complex physicality, with allusions to movement and energy as realized through the use of extreme colour. Often working with natural, found wood configured into planned forms such as three-dimensional gridded towers, loose bundles that recall the act of gathering, or blizzard-like protrusions into a room, the contrast between the patterning hand of man and the artistry of naturally occurring forms is always manifest in his work. His use of extreme colour, such as IKB (International Klein Blue) ultra matte paint and brilliant reds and yellows, amplifies the sense of a 'mediated' presence, made strikingly evident when reinserted into a natural environment.
With the works in this exhibition, Dark complicates the equation, working in hot forged steel to synthesize natural forms. Here, the constructed aspect is a mimicry of nature, perhaps most concisely realized in the Bough series, a set of humanly scaled tree boughs that hug the wall, inverted. Their form suggests an organic origin — the natural flow in the arrangement of twigs and branches seems right — yet they are the result of a series of refined, compositional gestures in forged steel, made until the desired 'natural form' was achieved. Again, Dark further announces the natural/manmade boundary with the use of high gloss, vibrantly hued paint, resulting in works that waver between organic and artificial, natural and schematic, always hovering at the limits of a known quantity — a persistent echo to the architecture of nature.
January 21 – February 18, 2012
Opening Reception: Saturday, January 21, 2-4 PM
This exhibition features drawings, prints and sculptures that relate to explorations of utopian propositions in architecture, the apian metaphor and the imaginary potential architectures or urban plans. Stewart draws inspiration from Gaudi, Le Corbusier, Burley Griffin and others, who were fascinated by the social model of the beehive and how it could be a blueprint for the model city, or utopian scheme.
The Gamble of Perfect Symmetry:
Double or Nothing
Jesse Boles, Dianne Bos, Doug Guildford, Catherine Heard, Penelope Stewart
January 21 – February 18, 2012
The occurrence of the double -- through mimicry, duplication, reflection -- holds endless fascination in that it at once indicates sameness and yet clearly delineates the “other.” Symmetry, as a geometric principle, refers to a seamless “whole,” comprising two, equal parts, as typified with reflective symmetry. Each of the artists featured in the exhibition draws on the harmonious qualities of symmetry while also recognizing, and even amplifying in some instances, the fragility of such structures.