Author: artoronto

So many art related things happened in Miami at the same time between December 4 – 9, 2012, after a while I stopped counting the different fairs, events, shows – a great feast for the art lover.

First I went to Art Miami and found two galleries from Toronto: Nikola Rukaj and Nikolas Metivier Gallery.

Interview with Nikola Rukaj (N.R) by Andrew Colebeck (A.C)

Nikola Rukaj, owner of Nikola Rukaj Gallery, Toronto

A.C: How are you enjoying the Fair so far?

N.R: I love it. It is a wonderful fair. The numbers are overwhelming and there is an educated fine crowd here.

A.C: What art did you bring here?

N.R: We brought Hans Hoffman’s Landscape from 1935, a lovely painting among other famous international artists.

Hans Hoffman’s Landscape from 1935, casein on panel, 24.7 x 29.6

A.C: How did you get these painting?

N.R: There were acquired throughout the years as part of our gallery collection.

A.C: There is a terrific selection for Art Miami this year. How do you think your gallery fits into the context the galleries brought here from all over the world?

N.R: We are old school — we have Dubuffet, Giacometti, Hans Hoffman and other well known masters. These are paintings that are the best of their times and they are in wonderful condition. They are also fresh to the market and that’s what people look for, they need to be fresh and not seen before.

 A.C: What is your impression of the show?

N.R: I rate it a 10. It is a wonderful show with an educated crowd, they buy and they collect. The market is great we are definitely coming back next year.

A.C: You’ve brought a lot of traditional art from your gallery. Were you thinking about maybe bringing a new artist here?

N.R: We will have more space next year and we will certainly involve more artists.

A.C: How do you feel about representing Toronto knowing that you are in an international setting here?

N.R: Toronto is an international city. There is a lot happening in the film industry and in the art world – it is a known city now.

A.C: Are you enjoying the networking you are able to do with the other galleries, marketing maybe?

N.R: The networking is great. You spend ten hours on your feet but you meet various peers. We have a common dominator here.

Nicholas Metivier Gallery was represented by Nicholas Metivier, Greg Manuel, Sarah Massie and Rita Stuart at the Fair.

As Ms. Stuart let us know, “the fair was very successful, we developed several new client relationships, and saw several clients we had met in previous years.  Fairs are a very important part of our business, mainly because it is a great way to expose our artists to new audiences, and generate new clientele.

Art Miami was a good fair for us, it is the second largest fair next to Basel, and supports/compliments our gallery’s aesthetic and program very well.

 

Our booth highlighted the new work of Edward Burtynsky, Charles Bierk and Jeffrey Blondes.”

In Red Dot Fair at ART-Basel Miami across from Art Miami, which was the first  original fair of the art scene in Miami. There I was mesmerised by Montreal artists Carole Beauvais  (C.B) large,  colorful abstract paintings.

A.C: How does if fell being part of what is now the largest Fine Art show on earth?

C.B: Art Basel Miami, is a hugely exciting thing. It feels like being on the greatest roller coaster ride on earth.

A.C: What does it mean to you?

C.B: The main painting in my booth is called : I AM  HERE ( 8′ x 8′ ) which was created to mark my spot on an international level to tell people that I AM there, come and see me!  My plan seems to work: I met and am meeting very interesting people and got incredible contacts. It feels very rewarding. I made connections that will just help to bring me to the next level not to put aside great new friends/great artist. I look forward to seeing what this week will bring me in the near future.

A.C: How do people respond to your works?

C.B: I am amazed to see the response to my paintings.  What great exposure, from instagrams to Facebook from the young  to the older, if I would have charged money for every photo taken, I would have payed my trip.

A.C: Will you do it again?

C.B: Will I do it again…of course, it would be crazy not too. I just want to do it at a higher level. I will go to Miami in February for the Wyndwood art Fair. Being told all week that my art was very Miami and Californian I cannot not go.

The  art building at 401 Richmond Street was buzzing with life with fundraiser art sales in Gallery 44 and Open Studio, the Opening Reception at Red Head for Inside / Outside, a group show, and artisans selling their Holiday crafts on the hallways. The galleries were overflowing with people and the demo for the printmaking was especially interesting at Open Studio. There was a festive spirit everywhere.

 Open Studio’s Annual Artist Proof Sale and Open House

Opening Night Fundraiser& Open House: Thursday, December 6, 2012 from 6:00 to 9:00 pm

Open Studio—one of Canada’s premier printmaking studios and galleries—hosts a celebration of printmaking every December, giving art lovers a chance to connect with and purchase unique works of art.

The Artist Proof Sale and Open House featured many original, one-of-a-kind fine art prints, ranging from $50 – $300, by established and emerging artists, limited edition original, handmade artists’ greeting cards, printmaking demonstrations with special guest artists Luis Jacob & Fiona Smyth, a rare opportunity for the public to experience Open Studio’s printmaking facilities; and a festive and fun atmosphere, with food and cash bar!

Luis Jacob demonstrates the art of printmaking

Sale continues till December 22, gallery hours are Tuesday – Saturday, 12:00 to 5:00 pm.

Red Head Gallery had an Opening Reception for a group show titled Inside / Outside.

Artists Margie Kelk  and Teri Donovan in front of Donovan’s  Untitled 1, 2 & 3, 2012

In this exhibition, fourteen artists have created work that grapples with the meaning of inner and outer restriction. The material of a box says much about the entity they were built to envelope, and by whom — thus, instead of focusing on the content within, these artists have made the boundary itself the subject of their experiment. Using their own artistic practices as a reference point and the box shape as a point of entry, each member of The Red Head Collective has found a way to address different facets of ‘the box’ and its implications in a 21st century world.

 Margie Kelk, Opera at the Fun House, 2012

Colin Carney, Inner Monologue, 2012

It was also an Opening Reception for Wall to Wall, an exhibition of contemporary photography in Gallery 44 with its annual party and sale.

With a membership base of over 300 active photographers and artists, this group exhibition is always innovative, vibrant, and exciting.

Thoughtfully arranged salon-style, the exhibition will include a diversity of photographic mediums including: alternative processes, gelatin silver prints, chromogenic prints, and archival pigment prints, many of which were created in Gallery 44’s production facilities.

The show features affordable editions of unframed prints priced at $40, $60, and $100, and the gallery walls will be filled with collectable artwork at accessible prices.

Wall to Wall is a fundraiser for Gallery 44’s award-winning education and exhibition programs. Committed to photography as a multi-faceted and ever-changing art form, Gallery 44 offers exhibition and publication opportunities to national and international artists, award-winning education programs, and affordable production facilities for artists.

Photo: Fox Martindale

 Interview with Jesus Mora (J.M) by Haafiz Karim (H.K)

I met Jesus Mora in his small studio tucked away behind a music instrument store. The small space was brimming with artwork that immediately caught my eye, canvas upon canvas of earthly tones and brilliant textural detail.

Photo: Roxane Murchison

H.K: It is known that you are particularly influenced by Mayan art and history. What of this epoch or culture fascinates you and inspires your creative endeavors?

J.M: Well it’s not just Mayan art. I’m from Mexico but I don’t exactly know what my indigenous roots are so I want to learn more about that culture. I’m not just fascinated by Mayan culture but rather all indigenous cultures especially those in Mexico. All my work has that influence from ancient cultures and nature, insects, or plants or other organic forms.

The cow that refuses, 2010, acrylic on canvas, 11 x 14 inches

H.K: Your work is often said to transcend into the subconscious. Could you elaborate on what message you most want to convey to your audience about the subconscious world or the connection between that and the real world.

J.M: I guess I want to depict the cycles that we are basically a part of. When you see the microscopic world and the universe it’s the same reality, we are a part of this.  With that in mind, talking about politics and social issues or such, whatever action someone does in another part of the world affects me.

Pals, 2011, acrylic on canvas, 12 x 10 inches

H.K: There is always this ethereal and organic quality to your artwork, obviously being inspired by nature. Do you ever see a shift in inspiration, or do you think you’ll always continue to create within this particular genre?

J.M: I think I see a shift, why? Because I like to experiment, I like change I don’t like to be the same. Someday maybe I will move on into a different style, I don’t know it just now. Obviously I think it’ll have the essence of what I’m doing right now. Actually I hope I change because I don’t want to get bored.

Escence out of time, 2010, acrylic on canvas, 60 x 46 inches

H.K: Do your sculptures aim to carry the same message as your paintings, in terms of the link and intertwining between vastly different worlds?

J.M: I think so, the sculptures have that too, and I think it’s the same essence. It’s complicated in some ways because I feel more comfortable with the paintings. With the sculptures I’m still experimenting and trying to tranfer some elements of the painting and the iconographies I am familiar with. But yes, in some ways, it has the same message.

H.K: Your artwork is exhibited widely. What has the international reception been towards it? What about the reception in your home country, Mexico?

J.M: I don’t know. It’s hard. People like it. It’s good. It’s hard to really say. If you talk about results in terms of my selling it’s slightly more unsuccessful. I feel it’s good overall though.

H.K: You were awarded the Guggenheim Fellowship in 2011, what did this mean to you?

J.M: Well that meant a lot. It was the most successful part of my career. It helped others to believe in me, I always believe in myself. Recognition like that is huge it brought me more self-esteem even though I already had it. It also brings encouragement and something else to present. I can say I’m doing my best.

Beginning of Sacrifice, 2012,  from the Pop Wuj/Popol Vuh book, watercolour on paper 7 x 10 inches

H.K: Would you be able to tell us what you’re currently working on, and your latest projects?

J.M: Right now I am working on the Mayan Calendar and a the small version of the Mayan sacred book “The Pop Wuj” better known as Popol vuh. I had to produce 60 illustrations. I am working with Bartolo Alvarez,  a Mayan Kiche elder who lives in Toronto and a Canadian Writer  Paul Seesequasis. I hope this book will be out in the first half of 2013. This project was supported by the Guggenheim foundation and the Ontario Arts Council.

Dresden, 2012, acrylic on canvas, 60 x 46 inches

H.K: What about your future endeavors?

J.M: I don’t know because it depends on how life goes and what opportunities open. I believe that what I am doing right now is going to lead me to something else but I do not know what it will be and when it will happen. Meanwhile I am working in some different projects that I have already started like finishing some sculptures and keep painting. At the same time I try to promote my work in Canada, Mexico and the U.S.A. The most important thing for me in life is to paint and be creative.

Tuesday, December 18, 2012, 7 – 9 p.m.
akasha art projects
511 Church Street, suite 200

phoneography workshop

the art of the phone camera

 

Just in time for holiday festivities! Due to the excitement surrounding the current phoneography exhibition at akasha art projects, the gallery has decided to offer a free workshop on the art of the phone camera and the use of smartphone applications.

This workshop will be facilitated by artists James Fowler and Lynne Fox on December 18th, 7-9pm at 511 Church Street, suite 200.

By donation from Telus mobility there will be Free Bixi Bike memberships to the first 10 people to register.

Please email kelli.jerome@gmail.com to register as part of this highly creative, informative and interactive event…and don’t forget to bring your smart phone

 

Opening Reception: Wednesday, December 5, 2012, 7 – 11 p.m.
Steam Whistle
255 Bremner Blvd
(Steam Whistle Brewery)

 

 

“This Guy, This Girl” by a guy: Dylan Leeder and a girl: Maria Jose Govea, Toronto based photographers, who capture people just because they like to.

Dylan Leeder and Maria Jose Govea

They love the portrait genre evident by their exhibit featuring club / concert / street shots of superstar DJs, local legends, musicians and other artists.

Minishots of musicians and DJs

These ‘in the moment’ portraits of individuals in their habitats as captured by Dylan and Maria, are not unique in the genre, but unique in the hues and the exact moment that is chosen, or not. Dylan and Maria have photographed artists such as Roger Waters, Blink 182, Zeds Dead, Snoop Dog, Two Door Cinema Club, Crystal Castles, Die Antwoord, Grimes, Skrillex, Amon Tobin, Diplo, Armin Van Buuren, Nero, Bassnectar, among many others.

Dylan Leeder and Maria Jose Govea in front of their works

Alex Kerr and Maria Jose Govea

 

The show is open till December 29, 2012.

Text and photo: Salomeh Ahmadi

Toronto School of Art closes after 44 years

Toronto School of Art declared bankruptcy on Friday, November 30th, 2012, ending a more than 40-year-run.

Students and Faculty members were notified Thursday night and Friday morning to pick up their art supplfes from the third floor of the Adelaide St. W. location by 1 p.m. Friday.

The sudden close down was a bad surprise for staff and students. The main reasons for bankruptcy were declining enrolment and  the monthly challenge of renting about 1,100 square metres in a trendy neighbourhood.

TSA, a registered private career college, provided diplomas and certificates. As they website states there were 1,200 students each year and 50 faculty members. A non-profit, registered charity, it relied on donor funds and tuition, and was “independent of subsidies or government funding.”

It was a really good school proved by many of their formal students who found precious jobs upon graduating.

SMASHING!!!! Hard Hitting Fists!!!
Saturday November 24, 2012
at Sterling Road Lot and The Theatre Centre Pop Up

SMASHING!!!! was a two part event created by Toronto based media and performance artist Istvan Kantor who brought the internationally renowned group Non Grata from Estonia via New York to Canada to perform in Toronto (they performed in Montreal in 2006).

Non Grata members (from left) Amber Lee, Taje Tross and Al Paldrok

Istvan Kantor aka Monty Cantsin Amen, a member of the Non Grata nomad-network group, collaborated in leading the car smash that took place at 3 p.m. in the empty lot beside Kantor’s studio on Sterling Road. Dirt and sand in small tornadoes flew around the car as people arrived. Improvised audio was beaten out against the chilling desert atmosphere by Istvan. The audience came ready to participate in the final killing of the bright red vehicule condemned to be smashed.

Smaching the car with Istvan Kantor on the top

Taje, Non Grata’s founder member with Al Paldrok, started on the roof in bare legs, bare feet, a burning torch and fire starter. He was the anarchist statue of liberty, a symbol for a generation of artists living in an era of global warming, in a city where cyclists are run down by vehicles regularly, in a part of the world where artists have been confronting the car in their work for the past two decades. The car is a highly charged symbol to attack. It was sprayed and smashed with axes, sledge hammers, sticks, flipped over and punctured. I took an axe and chopped away at the trunk. Throwing the axe to the ground for the next person to pick up, I stumbled away feeling that I had just jumped out of a cold lake.

Later in Istvan’s studio I said to Paldrok “That was fun.” “Fun has nothing to do with it!” he demanded, smiling behind his grizzly adam’s beard “It’s all about scratching the surface as strong and as deep as possible!”. I agreed with him, “that’s right, fun has nothing to do with it.”

Non Grata performs

The Theatre Centre Pop Up space started to fill around 8 p.m. A different audience arrived with an expectation for a performance that stretches beyond the parameters of what is safe. The Non Grata performance group has a reputation for making such experiences and the participating Toronto artists responded to this anticipation with high energy.

Jessica Patricia Kichoncho Karuhanga and Istvan Kantor

Two very intense and confronting short videos by Istvan Kantor were followed by Jessica Patricia Kichoncho Karuhanga’s solo piece. Performing with three cd players, Jessica physically moved between three different songs playing simultaneously, spontaneously stopping to bang her head against the wall. The sound was received by a contact microphone, looped and amplified, creating genuine head banging audio.

Jessica Patricia Kichoncho Karuhanga

253469 core members Wesley Rickert and Kathleen Reichelt performed for the first time as Burning Iceberg. A video made specific for the event was projected and the artists performed a 30 minute audio piece, an epic-sermon, based in concepts of performance art, poetry, raw noise and the inability to repeat any experience. Wesley’s hard core guitar beat-noise and Kathleen’s hits on the keyboard and on an accordion characterized the duo’s skeleton-music style.

Burning Iceberg members Wesley Rickert and Kathleen Reichelt

Non Grata delivered an intensely unnerving experience. The audience did not know how far the performers were going to go as the cast iron brand heated up in the fire at the centre of the audience. A Non Grata member, Amber Lee from Chicago, who traveled with Taja and Al from New York to Toronto for this occasion, was branded with an “S” shape and the smell of burning flesh filled the space. Marked with the moment of experience, recording the event on her body, the audience witnessed a mark of living permanence.

Taje of Non Grata is heating up the iron. Photo:Kenneth Laing Herdy

Istvan Kantor made a fist and smashed it for an intimate and unforgettable experience.

November 21- December 2, 2012
PROPELLER CENTRE FOR THE VISUAL ARTS

For every dweller in the city, and especially for Toronto artist Jean-Philippe Finkelstein, metropolitan experience is a cinema of discontinuous, fugitive events.

Shadows Serie 2012, 122 x 122 cm (Mixed media on Polyester film). Courtesy of Propeller Centre for the Visual Arts.

An ordinary wall is suddenly, briefly illuminated by a shaft of sunshine, then returned to darkness. A tree in the urban forest, struck by late afternoon light in a certain way, becomes prismatic, a spangle of uncommon hues and patterns against the sky. In the bustle of traffic on sidewalks and streets, as well as one the walls of big-city museums, colours and shapes collide, creating small, intense abstract incidents that linger in the mind as pungent memories. These and similar episodes–or at least their abrupt importance, their sensuous power–cannot be put into words very easily (if at all), but their emotional meanings can certainly be recalled in art.

Shadows Serie 2012, 122 x 122 cm (Mixed media on Polyester film). Courtesy of Propeller Centre for the Visual Arts.

This recollection of the ephemeral is the task Finkelstein has set for himself in his recent paintings on paper. He conjures with his memories, making symbolic pictures intended to invoke what he has glimpsed–not the literal appearance of it, of course, but rather its sensuous impact on his mind and soul. The elements used for stencilling these icons register, by way of metonymy, the forces at play in the theatre of the city that Finkelstein beholds: Mass-produced punched fibreboard stands in here for the mechanical repetitions and standardized structures that form the hard foundation of urban experience, and elaborate arabesques represent our fluid states of consciousness and even our erotic, idiosyncratic bodies, joining, separating, entwining. The very act of stencilling these templates on to paper is an echo of the continual inscription of sensations and ideas and conflicting desires on our flesh by the great churn of city life.

Shadows Serie 2012, 122 x 122 cm ( Oil paint on mdf panel). Courtesy of Propeller Centre for the Visual Arts.

Shadows Serie 2012, 244 x 244 cm (Mixed media on Polyester film). Courtesy of Propeller Centre for the Visual Arts.

Finkelstein’s practice of urban reverie is rooted in the radically important French avant-garde creative tradition, more literary than pictorial, that begins with Baudelaire’s prose poems and continues through the Symbolist poets and Proust. From the earlier artists in this lineage, he has learned how to stand both inside and outside the metropolitan phenomena that interest him; and he has learned to expect epiphanies from occurrences that most of us consider too banal or commonplace to notice. Finkelstein’s contribution to this Parisian legacy consists in his translation of its insights into an unusual visual medium that seeks to put flesh on spiritual and carnal apprehensions, that visibly embodies the evanescent, that figures-forth in art remembrances of things past.

Shadows Serie 2012, 122 x 122 cm (Mixed media on Polyester film). Courtesy of Propeller Centre for the Visual Arts.

John Bentley Mays, October 2012

 

Arsenal Toronto, a new art gallery in the city, follows the traditions of modern, cutting edge New York City galleries and is a smaller version of its Montreal namesake.

Arsenal Toronto is a converted lumber warehouse, situated  within a residential Dundas West neighbourhood at 45 Ernest Avenue. The exterior is uninviting, box-shaped and sheathed in corrugated metal. As the viewers enter the gallery, they discover that the metal sheaths of the outside contrast with the smooth, sterile-white walls of its interior. The gallery is large, with polished concrete stretching out under high ceilings of exposed metal. It’s industrial-sized, minimalist aesthetic is ideal for large-scale abstract works.

Arsenal Toronto, installation view

The grey palette of Arsenal Toronto’s exterior emphasized the bright hues of its Summer Colours exhibition.

Visitors entered the gallery through a concrete, side-door into a small hallway and were optically stricken by the yellow glare of Daniel Buren’s Travaux Situes “C” (1990).

Installation view with Daniel Buren’s Travaux Situes “C”

This large art work abandons the traditional methods of art presentation. Traditionally, art is moved from gallery to gallery. Instead, Travaux Situes “C” relies on the space which it is presented in. The work consists of a yellow painted entry wall, with hanging square wood forms and white strips. It was re-staged and assembled by personnel at Arsenal Toronto according to the the artist’s concept. Buren sent detailed instructions for the recontruction of Travaux Situes “C”, requiring the application of a particular kind of paint and the hanging of the forms based on specific proportions. Buren challenges the idea of authorship by allowing others to re-construct his artworks, and by doing so, he provokes the seemingly easy, but complex question we all sometimes ponder: What makes art, art?

Daniel Buren, Travaux Situes “C” (1990). Photo: Marie van Zeyl

Barry Allikas in his work All Along the Watch Tower (2011) revamps a traditionally high-modern, non-objective kind of abstraction to embrace freedom in composition with lyrical forms. His hard-edged patterns in white, blue and red create a seemingly perfect composition where the eye moves smoothly around the canvas.

Installation view with Barry Allikas works

Barry Allikas, All Along the Watch Tower (2011). Photo: Marie van Zeyl

The largest room was dedicated to the late Yves Gaucher as a tribute. He passed away in 2000.

Installation view with Yves Gaucher’s works

The viewer had to step back in order to investigate the flat planes of antagonistic colours in Gaucher’s large-scale canvases. The white frame of wall that surrounds the painting titled  Reds and Ps (1992) enables the viewer to experience the artwork with no distraction. However their eyes will not move smoothly across the canvas. This abstract work depicts colour blocks of bright and muted reds and yellows, that are unequal in weight and energy buiding an unusual spatial experience. Gaucher uses a diagonal and vertical line to disrupt the entire rhythm of the canvas. The diagonal line pushes the viewer’s eye forward until the vertical line requires the eye to stop on a block of bright red colour.

Yves Gaucher, Reds and Ps (1992). Photo: Marie van Zeyl

The artworks of  Summer Colours were illuminated by both streams of daylight shining in from high-mounted windows and evenly spaced tubes of fluorescent light, suspended above the canvases by wires. The gallery space is bare, void of benches. The minimalist aesthetic of the space compliments the geometric perfection that all three artists embrace in their works.

Summer Colours installation view

The exhibition at Arsenal Toronto by Daniel Buren, Barry Allikas and Yves Gaucher was jointly organized by Galerie Division and Galerie Rene Blouin. The show opened this summer and was on dispaly between June 27 and October 27.

Marie van Zeyl

Life is short, Capture it!!!

Interview with photographer Robert MacNeil (R.M) by Salomeh Ahmadi (S.A)

Toronto born Robert MacNeil has been in magazines around the world, including Australia, Scotland, England and Greece among others. The latest article about his work was published on November 15 in TUCK magazine in London, UK. He is a regular contributor to New York art scene and those in Canada.

S.A: When did you start photography?

R.M: First I trained to become a euro pro cyclist. I had everything in place to win until I was hit by a car in the late 80’s. I was left with many scars, physically and mentally as I have to let go of my dreams and learn to walk again. I am fine now but as a teen, my heart was broken. I was always creative, so art school was the logical next step in a new career.

I started taking photographs 30 years ago. After many years, I went to school to become a graphic designer but really fell in love with the photo program. I remember fighting nonstop with my teachers about the rules of photography. As an art student, I laughed and would say art has no rules. She would continually fail me until she saw my passion for shooting my way, my rules and when the mid-year art/photography show finished I had sold everything and set records for the highest prices paid.

Chimney from Wastelands series, 2012

S.A: What drew you to this medium?

R.M: I have always been drawn to creative outlets but using a camera really helped me express best, that artistic being that is inside of me. A camera, passion and a willingness to explore just collided and motivate me to capture life one photo at a time.

S.A: Who did inspire or influence you?

R. M: Without a doubt Ansel Adams first captured my imagination as to what can be done with a camera. To see his works and realize that he took these photos with film, a very basic camera, no Photoshop…really nothing except his eye and his passion simply humbles me as a photographer.

Steel bridge from Dark Passages series, 2012

S.A: What is your method – when you shoot, or perhaps more specifically with a series or exhibit?

R.M: I set out on every assignment for a magazine, gallery or for my personal enjoyment with one simple idea. Be open to what is around me. I try to see the world as an 8 x 10 photograph. I feel the energy of the day and as it continues I feel a theme building based on where I am shooting that day. This motivates me to spend more time at a site and to explore several concepts that are always present in my photographs: Light, Texture, Fluidity, Shape and the exploration of Free Flowing photography.

Night Prowl Series, #2, 2012

S.A: Why focus on ‘free-flowing and fluidity’ in your images above other aspects?

R.M: I have always been attracted to fluidity in photography. I love the shapes, colours, textures and feel of fluids in photos. This photo can never be recreated; will never be the same ever so each is a one of a kind moment to never be repeated. Free Flowing basically means nature simply making that photo even better, be it a gentle breeze, the angle of the sun, the movement of the clouds that just make that photograph even better. Water is the perfect example as you watch it trickle down a rock, one second it looks like a horse, the next you are reflected in it and become part of the photo.

Heavy Rain from Aquos series, 2012

S.A: Are there any other messages you try to convey in your images?

R.M: I simply shoot what brings me pleasure. I don’t shoot for others or their artistic view. I simply shoot for me. I feel my photographs represent the moments in life we miss or simply just don’t notice as we are so busy with our hectic lives. Life is short, look around you and see the beauty that surrounds us.

S.A: What’s the best and worst thing about being an artist?

R.M: The best is honestly watching the smile of someone looking at your work, that’s all I want. The worst: Photography can be very addicting. I want to shoot all the time which I can’t always do.

S.A: How would you describe yourself in 3 words?

R.M: Passionate, Creative and Sarcastic.

Cement city from Cityscenes series, 2012

S.A: Any words of advice to aspiring photographers?

R.M: Relax, don’t put any pressure on yourself and look around. I know so many photographers who obsess about the perfect shot; they will go to a site the day before and plan their shots then shoot 500 photos of the same thing. They haul all their gear around and it becomes a mission to capture that photo while missing hundreds of others. Relax and don’t worry. Snap away and don’t let the camera rule you, it’s just a tool to help you put your views on a canvas.

Zahra, Goddess of Dance, 2012

S.A: What are you working on it now and where can we see more of your work?

R.M: I am working on several series right now along with several projects for Bold Magazine in Toronto, Twohundredx200 Magazine in Scotland and a series I am pushing on Vogue Magazine. There are a few other projects on the go for other magazines but I am not quite where I want to be visually and spiritually with my photograpic visions. I am always working on my Aquos and water series as it is my favourite subject.

Continuum 9 from Aquos series, 2012

You can go to http://www.robmacneil.com/ or visit the Hashtag Gallery November 29 – December 1, 2012 as I am part of the Chroma show at the gallery.

Gaia Giving Birth to Uranus by Alice Zilberberg

November 17 – December 22, 2012
Opening Reception: Saturday, November 17, 6 – 9 p.m.
BEZPALA BROWN GALLERY
17 Church Street (Front and Church)
Toronto, ON, M5E 1M2
T: 416.907.6875
E: info@bezpalabrown.com
www.bezpalabrown.com
Hours: Tues–Wed 11–6, Thurs–Sat 11–8, Sun 11–6 p.m

Selected in Magenta Foundation’s 2010 Flash Forward as one of the top emerging photographers, Zilberberg’s creations are attracting critical acclaim.

Inspired by folklore, mythology, fairy tales, and feminism, her work places new gloss on traditional themes.

Zilberberg expands on depictions of femininity and the environment as portrayed in literature, pagan tradition, religious formalism and the deity through image manipulation. She extracts the essence of female power, taking goddesses back to their origins, removing outdated notions of a weaker sex, questioning our values and treatment of the natural environment and the state of the earth. Her goddesses are women that are powerful, capable, alluring and defeating— goddesses almighty. Likewise, she does not mask the dark side of our best known fairy tales. From Alice’s straightjacket to Red Riding Hood’s collapse, the enormity of female struggle plays out.

Zilberberg is a Toronto-based photographer and visual artist. A graduate of Ryerson’s Fine Arts program (photography), her use of composite images melds fantasy with reality with striking precision. She has exhibited in Canada and Japan, as well as having been published in several print and online magazines.

Golden Slumbers, 2012, oil on canvas, 35 x 47 inches

November 15 – 30. 2012
Opening Reception with the artist: Thursday, November 15, 4 – 8 p.m.
INGRAM GALLERY
49 Avenue Road (@ Yorkville)
Toronto, ON M5R 2G3
Tel. 416-929-2220
www.ingramgallery.com
Hours: Tues – Sat 11 – 5 p.m.

Once there was a way, To get back homewardOnce there was a way, To get back home.Sleep, little darling, Do not cry And I will sing a lullaby.- Golden Slumbers (1969), The Beatles