Author: artoronto

In celebration of Angell Gallery’s twentieth anniversary, Jamie Angell has selected a group of artworks from his personal collection to represent the gallery’s artists and as a visual narrative to his art world career. His personal career mythology as a gallerist begins as a Hairdresser in Yorkville when he began attending exhibition openings. Time spent in Paris and New York as well as a part time job setting up shows in Forest Hill homes with a private dealer brought him experience in handling art. His presence at every art event mixed with his inexhaustible gregarious attitude brought him closer to artists and other gallery owners and directors. From his collection, Angell has chosen abstract paintings, short videos, many photographs, and moody portraits. Growing their careers from emerging, Angell’s roster includes artists such as Kim Dorland, Gavin Lynch and Steve Driscoll whose works are proudly hung alongside newly represented artists such as Erin Loree.

Jamie Angell in front of Tim Roda’s photograph, Untitled #150 (Living Large)

While taking Jamie Angell’s portrait, enjoying the company of his infectious smile, we spoke briefly about one of his favorite photographs: “Untitled #150 (Living Large)” (2007) by Tim Roda. In this photo, a car is parked outside a town house with a man (Roda) in the driver’s seat is looking back, possibly waiting for someone, a young boy (his son) in the back seat stares at the camera, and the camera’s flash appears on one of the apartment’s windows. Roda’s photographic process flies in the face of photography and his works are more subtly self-aware than others in Angell’s collection. Roda denies spacial clarity, he does not use light to enhance or highlight the motif, but uses a traditional depth of field or print with the end goal of crispness. His photographs are staged, often using household items, and family members. Combined with the black and white photographic vocabulary, a sense of nostalgia is consistently achieved – aspects that Angell appreciates in Roda’s work.

In the back room where some works in storage are kept, the most strictly abstract works such as Daniel Hutchinson’s “Zero” (2012) hang together. In the adjacent space, one monitor displays three video works and one short film on loop. In two of the videos there is classic New Media iconography in the form of many busy layers and reference to electronic mediums. Another video, “Stitching the Snow” (2009) by Vessna Perunovich – who also has an abstract painting and sculpture in the show – seems to be a documentation of a traditional land art action involving walking in the snow. 

Neil Harrison, Blue Square 2, 2014 (left) & Daniel Hutchinson, Zero, 2012 (right)

On the two largest walls of the front main space, works are arranged salon-style and grouped loosely into landscapes and portraits. Hung on the wall of landscapes are works by Erin Loree, Gavin Lynch, Paul Butler and Jon Rafman just to name a few. Some of these works hint at Jamie Angell’s quirky taste. Derek Mainella’s “Untitled (Acid)” (2013) is a painted yellow and black canvas-turned smiley face that is frowning from the weight of its torn canvas features. 

Installation view

A sense of Angell’s collection can also be gathered from his penchant for self-aware photographs. Jakub Dolejs’ photograph “Escape to West Germany” (2002) for example seems to be at first glance a scene of heightened drama, but upon closer inspection is as much staged tableaux, as is the suspended disbelief required for live theater. In Dolejs’ work, the subject leans awkwardly forward holding a cheap suitcase prop, a fake baby, and is posed, standing in fake snow in front of a painted back drop.

Jakub Dolejs, Escape to West Germany, 1972 (left); Vessna Perunovich, Continuum, 2000 (right)

On the second large wall among the portraits, a darkness of subject matter emerges. Some of the works are down right scary and uncomfortable.  Saul Chernick’s drawing, “The Glutarian and Serpent” (2005) includes a mournful person groping themselves, Rafael Ochoa’s C-print, “Boy with Two Hounds” (2013) is like a nightmare from Goya, and Catherine Heard’s “Untitled” figurative sculpture (1998) made of hair and teeth has since haunted my own dreams. Kim Dorland’s “HER” (2008) is also hung on the portrait wall. The canvas, piled high with inches of thick oil paint had been in storage drying until this occasion. 

Installation view of the “Portrait” wall

Catherine Heard’s, Untitled, 1998 (left) and Autopsie, 1998 (right)

While there are impressive art pieces worth travelling to see at Angell Gallery’s twentieth anniversary exhibition, it is the context of all these works together, producing a portrait of Angell as a collector, that is most thrilling.

Text and photo: Alice Pelot

*Exhibition information: April 9 – 23, 2016,  Angell Gallery, 1444 Dupont St., Unit 15 (Entrance off Campbell Ave.). Gallery hours: Wed – Sat: 12 – 6 p.m.

Sarah Anne Johnson did an artist talk to accompany her installation, The Kitchen at Gallery 44, as a part of April’s Images Festival. The talk brought out a crowd of curious people, as the work is ominous and incites a great deal more questions than it answers.

Johnson’s talk helped to shed light on the interesting and disturbing history of how the work came to existence. The artist’s maternal grandmother suffered from post-partum depression in the 1950s, prior to any understanding of the illness. She received on and off treatment in the Allan Memorial Institute in Montreal. It was later revealed that this treatment was a part of a CIA initiative to develop mind control – the effects of these highly immoral practices would affect Johnson’s grandmother and family for many years to come.

Sarah Anne Johnson, video stills from The Kitchen, 2016. Photo: Rhiann Moore

Johnson focuses on the familial results of this injustice. The kitchen – her own kitchen slightly redecorated – is done in the 1950’s style, as is the dress of Johnson. In Gallery 44 there are various screens, which show extended scenes of the artist herself doing basic kitchen duties with immense difficulty as she does them all backwards with a mask. In her talk she described how this intends to reflect the way the doctors tried to break her grandmother down and put her back together, and how this made the formerly simple tasks hard to accomplish. The long takes of each scene cause an extension of this discomfort and allow for the viewer to see how the immense difficulty of going through life backwards would be in real time.

Sarah Anne Johnson, video still from The Kitchen, 2016. Photo: Rhiann Moore

The gallery also features a separate backroom where there is a larger black and white projection of Johnson moving into various strange positions on the kitchen floor. Johnson admitted herself that this part does not necessarily go with the other scenes, but she felt the image was too powerful to be excluded from the exhibit, a fact most viewers are likely inclined to agree with.

Sarah Anne Johnson, video still from The Kitchen, 2016. Image courtesy of Gallery 44

Johnson looks largely from the perspective of her family’s personal history, with a decisive understanding that this government project was not exclusive to her family. The exhibition is layered with the facts that give viewers a deeper understanding of what Johnson is trying to accomplish, however, it is capable of standing on its own. The exhibition is disturbing, alienating and fascinating. Johnson mentioned that these pieces were done not only for her family, but rather for all the people who have suffered from mental illness that affected their daily activities.

Sarah Anne Johnson (left) at her Artist Talk, Gallery 44, Images Festival, April 14, 2016. Photo: Rhiann Moore

Johnson said that throughout her childhood she constantly remembered her grandmother being surrounded by books and writing utensils. She went through life assuming that her grandmother was an avid reader and writer. Later on she found out from her mother that, as a result of the trauma of her hospitalization, reading and writing became incredibly difficult for her grandmother, yet she constantly tried to improve. It was clear in her speech that Johnson greatly admired the perseverance this would have taken.

Johnson also spoke about her future plans to create different rooms in a dollhouse that would work alongside The Kitchen and Hospital Hallway, a performance based installation. The Kitchen is an interesting and emotional piece – and alongside other rooms would be equally, if not more, powerful.

Rhiann Moore

*Exhibition information: April 1 – 23, 2016, 401 Richmond Street West Suite #120, Toronto. Gallery hours: Tue – Sat, 11 am – 5 pm.

In celebration of its 20th year, Lonsdale Gallery has opened a new exhibition featuring the expansive range of its rostered artists. Nestled in the heart of Foresthill, the gallery captivates from the street as Elisabeth Picard’s vibrant zip ties float dreamily ahead. Staring through the glass window it takes a moment to register the clear fishing line holding her kaleidoscopic landscape off the floor. Equally mesmerizing was the sight of Lonsdale director, Chad Wolfond, playfully running his hand through the interwoven zip ties sending the work into a wonderful frenzy of movement and colour. Wolfond, the founder of Lonsdale Gallery, became my tour guide through the exhibition.

Elisabeth Picard, Rainbow Mountains, 2015, 60,000 dyed Zip-Ties, 6 x 5 x 7 inches. Image courtesy of Lonsdale Gallery

Gallery Director Chad Wolfond discussing Elisabeth Picard, Rainbow Mountains, 2015, 60,000 dyed Zip-Ties, 6 x 5 x 7 inches. Photo: Meghan O’Callaghan

His enthusiasm and passion for his artists was infectious and soon became the highlight of the night. I was whisked into his back office, where a cabinet of curiosities lay in wait. The director’s excitement was palpable as he drew my attention first to a striking pair of minute rubber figurines by Keith Bentley, where the artist had dramatically concealed the face of each Arcadian figure with fishing floats. 

Keith Bentley, Untitled (Borghese Series), 2012, cast chalk figurine, plastic, steel & rubber, 11 x 8 x 5″. Photo: Meghan O’Callaghan

Re-entering the exhibition space, Wolfond revealed the theme at the heart of both this show and his gallery, “the contrast and dialogue between intimacy and grandeur”. This idea was poignantly captured by the contrast from Bentley’s statuettes to Katherine Tzu-Lan Mann’s installation, a floor to ceiling cut paper entanglement in the corner of the room – a work that demanded the viewer’s attention as your eye traces the mass of black sashaying lines. 

Katherine Tzu-Lan Mann, Slurry, 2012, acrylic and sumi ink on cut paper, dimensions vary. Photo: Meghan O’Callaghan

Guests of the event standing before (left to right): Maurice Ducret, Untitled (Grey & Black), 2000; Ilan Wolff, Trees no. 2, 3, and 9, 1998; Annie Taylor, Matter 01, 03 and 09, 2014; Robert Davidowitz, Wave 7 (left) & Cosmic Circle (right), 2015 & 2013; Julia Martin, Seduction is a Means of Survival (left), What I miss most is the stimulation (right), 2015, photograph, 32 x 34”; Peggy Taylor Reid, Untited, 2011; Laura Demers,  What is Beyond the Stars?, 2015. Photo: Meghan O’Callaghan

Ascending to the second floor, the diversity of the show is even more exaggerated as your eye is directed first to the monumental, built up impasto painting by Jim Reid, slowly you then take in the other more modest works in the room. Specifically, I was drawn to the embroidered illustration by Amanda McCavour, the medium is thread, exuding an air of delicacy as if the two hands could unravel at any moment.

Guests standing in front of Jim Reid, Remnant of an Ancient Wilderness 20-9-11, acrylic on wood panels, 84 x 126 inches, 2011. Photo: Meghan O’Callaghan

Amanda McCavour, Compound Tangle 4, 2012, thread drawing, 41.5 x 60” (framed). Image courtesy of Lonsdale Gallery

Diversity seems to be the unifying factor between Wolfond’s artists, as they all maintain a unique expression and identity. When I asked the director how he chooses his artists his answer was unequivocal, “I only work with artists that have their own perspective and their own language – and remains very true to it”.  As coincidence would have it, I was then directed to the sculptural series by Jim Hake, who forms and casts gloved hands into sign language. The particular work on view fittingly spelled out “Say it Loud”. A title that reflects the integrity and artistic voice that is celebrated and expected from the artists represented at Lonsdale gallery.

Jim Hake, Say It Loud, 2014, found gloves and mixed media, 14 x 61 x 5 inches. Photo: Meghan O’Callaghan

Keith W. Bentley, Dissecting Staverden, 2015, resin sculpture, wood, steel and paint, 36 x 14 x 14 inches.  Image courtesy of Lonsdale Gallery

George Boileau, Bifurcation, 2003, filtch-cut hardwood and steel, 95.5 x 71.5 inches. Photo: Meghan O’Callaghan

Jim Reid, St. Lucia #5 & #8 (Left to right, top) St. Lucia #7 & #9 (left to right, bottom) 2015, watercolour and pastel on paper 17 x 21 inches (framed). Photo: Meghan O’Callaghan

Peggy Taylor Reid, Untited, 2011, pinhole image unique negative, inkjet print, 10.25 x 13.25 inches (framed).  Photo: Meghan O’Callaghan

Meghan O’Callaghan

*Exhibition information: March 24 – May 1, 2016, Lonsdale Gallery, 410 Spadina Road, Toronto. Gallery hours: Wed – Sun, 11 – 5 pm.

Auto BLDG. Today. 158 Sterling Road. Photo: Arash Moallemi

The Museum of Contemporary Art
158 Sterling Avenue, Toronto

This new museum in Toronto wouldn’t just be a new building but also a fresh approach to the functions of museums as explained by their new CEO and Director, Chantal Pontbriand. The Museum of Contemporary Art in Toronto will be an engaging and welcoming institution where the art will mirror social and artistic issues and encourage a dialogue. There will be areas for artists to meet and workshop ideas, performance rehearsal spaces, exhibition rooms, cafes, administration offices, resource centres and much more – spread over 5 floors and 55,000 sq. ft. The first phase scheduled for opening in May, 2017. Phase two will be open in 2020 with another 75,000 sq. ft. on the adjacent site and this building will hold expanded performance areas and space for resident artists.

Auto BLDG. Today. 158 Sterling Road. Photo: Leo Burnett Toronto

The space for Phase 1 is a ten-storey industrial automotive building of which the museum will occupy the first 5 floors. Pontbriand explained that they have been working with the architects to preserve as much of the original space as possible as it is already an engaging, unassuming space that will work well with the new concept for the museum. She also expressed how they have been privileged to work with the CastlepointNuma and Greybrook Sterling Inc Developers in a special working relationship with a forty year lease. Castlepoint Greybrooke Sterling Inc is a partnership between Castlepoint Numa and Greybrook Realty Partners. Alfredo Romano, the President of Castlepoint Numa brings with him a long experience and history of support for cultural institutions such as the Royal Museum of Ontario, T.I.F.F., the former MOCCA among others.

Alfredo Romano, President, Castlepoint Numa, and Chantal Pontbriand, CEO and Director, Museum of Contemporary Art_Toronto_Canada. Photo: George Whiteside

The surrounding 8 acre site is being developed as a mixed use area known as the Lower Junction. Castlepoint Greybrook Sterling Inc is also to make donations to the institution’s programming for the first five years. Floor one will contain an agora as a meeting place for people as well as a reception area and bookshop. It will be connected with an outdoor plaza. Floors 2 & 3 will have exhibition and performance spaces as well as storage for the collection. The 4th floor will have an area known as the SQUAT with an informal seating area for visitors plus workshop spaces and a cafe-bar. The 5th floor will house offices for the staff, meeting rooms, a library and a performance–rehearsal space. The windows on this floor will offer visitors a panoramic view of the city. 

Auto BLDG. Today. 158 Sterling Road. Photo: Arash Moallemi

The new plan and new CEO have been embraced with much enthusiasm. Pontbriand was welcomed by over 500 guests from the art community at the AGO in this January and, as she said, she was overwhelmed with the reception she received. The new plans were revealed on March 29, 2016 at an impressive media brief. As Pontbriand explained it is easier to secure all the funding with a plan that outlines how things will work. The Board of Directors, staff and all those involved with the project must be relived that a plan is in place and they are able to move forward.

Pontbriand besides being the CEO and Director of the Museum of Contemporary Art, Toronto will also curate Odyssey 2040, an exhibition that will run between May and August, 2017. The year 2040 will be the year when Toronto’s population growth is expected to hit 10 million and the Odyssey refers to Homer’s epic writing. That’s how the journey for this new museum will begin. Pontbriand has a history of curating international exhibitions and is also known for being a founder of Parachute a contemporary art magazine that published 125 issues from 1975 t0 2007. She also co–founded the FIND Festival (Festival Internationale de Nouvelle Danse, 1982-2003). She also worked at the Tate Modern in London and so she brings a wealth of experience. She was appointed in her new position in 2015 almost the same time she was involved as an advisor to Demo– Graphics, 2017 a Diversity Based Biennial Project for Greater Toronto. Pontbriand comes with impressive credentials from both Montreal and Paris. She has spent some time in Toronto before but is getting to know her new home better now. We talked about the differences in the cultural landscapes between Montreal and Toronto. For her Montreal is a cosmopolitan city but Toronto is more of a worldly urban centre attracting people from across the globe. In her opinion cultural centres like the Museum of Contemporary Art, Toronto are important for any global city. 

Chantal Pontbriand, CEO and Director, Museum of Contemporary Art_Toronto_Canada. Photo: George Whiteside

Programming for the museum has been announced and includes both international and Canadian artists. Pontbriand believes that every artist should be international. Local artists will play an integral part in the new museum’s as it wishes to become a nexus for convergence of exchanging ideas. There will be a three–monthly magazine announcing the programming and events of the museum to the public. A larger journal, The Idea of the North, will contain essays on issues expressed by artists and thinkers. The title of the journal is from a radio documentary by Glen Gould aired in 1967. On the subject of acquisitions Pontbriand said  that the museum’s approach will be different from the past since works might be acquired from exhibitions that are created through partnerships. The collection will start from the year 2000 but older works might be collected if they are relevant to the exhibitions and programming. Pontibriand talked about a lot of cross pollination in the arts where performance and art intersect and where different partners co produce exhibitions and works from those exhibitions are then acquired.

David Liss becomes the curator advisor in this new museum and will curate the show Toronto: You Are Here (September – December, 2017) as part of the first year’s programming. Long known as the face of MOCCA on Queen St. West (2000-2015), Liss has curated over 50 exhibitions and is certainly familiar with the Toronto art scene. 

David Liss, Curator Advisor, Museum of Contemporary Art_Toronto_Canada. Photo: George Whiteside

In May of 2017 the Museum of Contemporary Art will open its doors and Toronto will have a new museum where new ideas and art will emerge and the art world will be invited to participate and engage in a new cultural model. Chantal Pontbriand’s vision will come to life and Toronto will have a new international museum and nexus space for exchange and networking.

Phil Anderson

 

Artist, Fred Hummel giving his art talk

In his artist talk Fred Hummel told the audience that they should feel free to touch all of his sculptures. Although this is an unusual practice in art galleries, it sets his show apart from others. He explained how his works are about far more than just the sight – he wants viewers to understand how he feels when he creates them with his hands through the use of their own. The sculptures he created – whether figurative animals or abstract all evoke the desire to explore them with hand, mind and soul just as the title of the exhibition directs.

Fred Hummel, Infinity, Solara limestone, translucent alabaster / Irish limestone base (left) &  Unfurling, Blue anhydride, Turkish limestone / Irish limestone base (right)

Hummel spent most of his life as a physical education teacher and gymnastics coach in Scarborough, Ontario. While he takes more time for his art now, he has not forgotten the importance of physicality in his life. When I asked how he felt this physicality translated into his art, he stated that he essentially transitioned from manipulating bodies to manipulating stones. The key difference as he pointed out was that the stones complain. One of the works which most resembles the physicality of gymnasts is the euphoric, “Sentinel”. This basalt and granite sculpture shows the torso of a woman with her back highly arched and her head thrown back evoking a sense of intense exhilaration. The position of the body is not the most natural, but it is not abstract either. The body is highly flexible, but not unachievably so. Through the dedication it takes to learn a sport or create a stone sculpture this pose could be achieved.

Fred Hummel, Consensual, Limestone / granite base (left) & Sentinel, Basalt / granite base (right)

Hummel is most widely recognized for his sculptures that depict animals. “Ancient” is a clear representation of a fish, the stone base of which was actually found in Ontario. Although initially this may seem like a simplistic animal sculpture, when viewed from different angles the Labradorean stone begins to change colours. From sparkling greens to deep blues the fish almost seems to be in movement. The bear sculpture “Blue Ice” does not have the same dynamic colour movement, however, it’s icy blue also presents the essence of the animal portrayed. It appears cold, strong and fascinating to the viewers. It is not a surprise that Hummel is best known for his animal sculptures. He chooses the stones very  carefully and with his excellent sculpting skill he is able to capture the spirit of the animal – something that he likely gets from his own penchant for the majestic outdoors.

Fred Hummel, Entangled, Translucent alabaster / river stone base

Fred Hummel, Blue Ice, Blue anhydride / Irish limestone base

This show is Hummel’s first solo exhibition at the Sculptor’s Society of Canada in the 3 years since he has been a member. Last year they sent him to Korea to present a 10-foot tall granite sculpture that he only had four weeks to produce. The artist rose to the challenge the same way he was able to pull together such a dynamic solo exhibition. Although he found sculpting later in life, he makes clear that he is willing to throw himself completely into his work as he is very passionate about it. From animals, to figures, to more abstract works such as “Windswept” which lovingly tucks one stone into another and brings forth a sense of comfort in nature, Hummel clearly puts his all into each one of his works big or small.

Fred Hummel, Juxtaposition, Marble / granite base (left) & Windswept, Brucite, black granite (right)

Rhiann Moore
Images are courtesy of the Canadian Sculpture Centre

*Exhibition information: April 17 – 29, 2016, Canadian Sculpture Centre, 500 Church Street. Gallery hours: Tue – Fri: 12 – 6, Sat: 11 – 4 p.m.

Robert Kananaj

Consumerism predicates on the proliferation of commodities, which despite all of the procedures behind their creation – the formulation of ideas, designs, information, and the actual production – they are ultimately become superfluous objects to be discarded. Garbage dumps become their collection sites, that although are considered extrinsically worthless, they can still provide information, an overlooked intrinsic value. Such a dynamic has become indicative of our generation and modern civilization, steering us towards complacency with it. Robert Kananaj’s State of Being combines multimedia sculpture, photography, and drawing, with over 3 years of preparation, that strives to document this transition from use to disuse and the nature of objecthood as a societal characteristic. As Kananaj describes it “the birth of our medicated society, but well-designed domesticated society.”

Robert Kananaj, State of Being, installation view

Kananaj predilection began when he visited a dumpsite on the outskirts of the city. Rather than be deterred by the dirt- and stench-filled landscape, he instead drew inspiration from it. He began to take photographs of the mountains of garbage and the thick mists of dust illuminated by the towering lamps scattered throughout, which unfolded into surrealistic, enigmatic scenes he entitled as “Garbage Heaven.” It was here that he derived inspiration for the entire State of Being.

Robert Kananaj, Amnion

The central installation, known as the “Amnion,” is a massive organic structure created from synthetic materials. Walls of iron meshing gradually coalesce with used medicine bottles that are suspended like floating dust from the gallery’s ceiling. Much like an amniotic sac that houses and nurtures us during our developmental stages leading up to our eventual birth. A metal wire umbilical cord connects this metal-nest womb with a seemingly unending supply originating from the upper level of the gallery. The gallery’s floor meticulously lined with more empty medication bottles and accompanied by a crystalline sculpture consisting entirely of mirrors – the reflections alluding to the infinite supply of debris that supports the embryo. Medication bottles are everywhere as they overflow into the space above and below, not just through the umbilical cord to the amnion. Underneath one plastic bag full of those bottles, a prison suit is hanging from the wall with its concrete-filled shoes – confined by the overspill. Meanwhile, the amnion has broken as garbage bags and crumpled labels emerge from its rupture, therefore it is aptly referred to as the “birth of our medicated society.”

Robert Kananaj, State of Being, installation view

Pharmacology is a recent innovation that has improved public health and human longevity, and the residual waste is evidence of how reliant our society has become and how endlessly we treat ourselves. We suppose that since they have lost their purpose – to store and efficiently transport its valuable contents – they serve no further use. However, it is in this state that their value beyond being mere receptacles. In fact, Kananaj cleverly uses them to create his own receptacle that cultivates our consumptive practices, or rather the waste that results from it. His work is encouraging us to examine the developmental quality of the mundane objects abundant within our generation, something which we cannot alienate ourselves from since it has become so definitive.

Robert Kananaj in his installation

Text and photo: Simon Termine

*Exhibition information: March 24 – May 19, 2016, Robert Kananaj Gallery, 172 St Helens Avenue, Toronto. Gallery hours: Tue – Sat 11 a.m. – 6 p.m.

Artist Sheinina Lolita Raj (left) with Elaine Fleck Gallery owner Elaine Fleck (right). Image courtesy of Elaine Fleck Gallery

Interview with Sheinina Lolita Raj (S.L.R) by Phil Anderson (P.A)

The interview took place in Elaine Fleck Gallery where Sheinina Lolita Raj’s exhibition, INTERCULTURAL is on display till April 16th.

P.A: What was the personal connection to this new body of work?

S.L.R: Expressing a perspective with an integral voice that was engaging with a positive influence was important for me. As a person of Indian and English descent I was born with an identity that I’ve come to appreciate as ambiguous. I am often approached in other dialects, like, Spanish, Armenian and Farsi for example. Since residing in Los Angeles for more than a decade I have also experienced numerous offensive racist behaviors.

P.A: How did you assemble all the cultural wear for this series?

Each culture has been chosen for a reason and the outfit was assembled its own unique way. Here  are a few examples.

“Native American Woman” is from the Navajo, originally a Canadian Tribe who referred to themselves as Dene (people of the land). When my family and I immigrated to Canada when I was 5 years old, I found solace with native people.

After speaking with local Native Indian organizations, going to pow wows, craft and native artisan events I finally found a young woman to agree to loan me her rug dress and heirlooms. As I discovered it is usually not done, as their traditional regalia is considered a part of their body. So I offered a trade and Neeko, the great great granddaughter of Old Smith the first Navaho Silversmith, agreed! She dressed me as customs dictate.

Sheinina Lolita Raj, Native American Woman. Image courtesy of Elaine Fleck Gallery

“Mexican Woman” was a logical choice since I live in Los Angeles and there is a large population of people whose origin is Mexican. I am often mistaken for a woman of Mexican descent. I have experienced a number of disrespectful encounters from Caucasian Americans or friendly hellos from residents who are of Mexican descent. Thankfully there is an area considered the first landing of Spanish settlers in downtown Los Angeles and I was able to purchase an authentic traditional Mexican woman’s outfit from there.

Sheinina Lolita Raj, Mexican Woman. Image courtesy of Elaine Fleck Gallery

As I am of Indian descent it goes without saying that “Indian Woman” must be represented. I own many saris and selected my prized red sari that represents the color of celebration and is traditionally worn during wedding ceremonies. The matching bracelets and Bidind over my third eye were a gift from my aunty, Fua.

Sheinina Lolita Raj, Indian Woman. Image courtesy of Elaine Fleck Gallery

“North American Woman” completes the collection. She represents ambiguity. As immigrants from around the globe continue to settle into the New World their original and new identity will inevitably merge. For this portrait I selected a dress I owned. I think it is a good representation of who I am with the sharp lines and cut off shoulders that reference my edginess. The sky blue color represent the atmosphere where my imagination floats about while the burnt orange depicts the fire that burns within me.

Sheinina Lolita Raj, North American Woman. Image courtesy of Elaine Fleck Gallery

P.A: Why was it important for you to be the person in all of the dresses for the portraits?

S.L.R: This is a reflection of my own experience as I have been mistaken for being native to these cultures or because I have a personal connection to them. It has made me appreciate my tonality and features more than ever. I also realized that even the smallest  difference in my clothes and make up could change the way I look and how people would relate to me.

P.A: How has this new body of work been received and what feedback have you got?

S.L.R: A Pakistani woman, whose grandmother was one of the million people who had lost their lives during the civil wars between India and Pakistan, told me that I brought her to tears during my Art Talk. There is a real diverse connection that certainly resonates with people when they  learn and discover the collection. Many people can relate to the work for many reasons, whether it is because they are of ethnic descent, or their family has a history with war that torn their countries apart or simply that they have visited that country.

Sheinina Lolita Raj, Pakistani Woman. Image courtesy of Elaine Fleck Gallery

P.A: How do you view the duality of your cultural background after this exhibition?

S.L.R: As a person who is a Canadian citizen and once lived in Toronto I always felt equally respected as a person of ethnic descent. Toronto is a multicultural environment and I was happy to see that that sensibility still thrives. Showing in Toronto and having the opportunity to speak about the work has proved to me how important this collection is and the conversations that follow. I plan to continue working on the collection and include more cultures to further enforce the unification of ancestry.

P.A: How do you see gender playing a role in these series? How different would it be for a male?

S.L.R: Women are the bearers of custom and tradition and are respected for unifying identity in most cultures. In each culture there is a very specific adornment that comes with its own reasoning and is always easily recognized by a person whose of that origin. Woman naturally bring about a submissive quality since women are physically weaker than men. I think this ultimately creates a non-confrontational emotion when approaching the work. A man would have brought about other emotions, like ego, that was not welcome in my artist statement for these series.

P.A: How different are these series from your other art work?

This new collection is quite different then my past Fine Art Photography as I have always worked with the medium to express euphoric emotions. The light paintings I used to create were quite technical with different light sources, multiple exposures, different focal lengths, like the timing of my movements for example. This is my first time for using my art for a social statement.

P.A: What are your future plans?

S.L.R: I plan to include more cultures in the collection, like Brazilian, Iranian, Thai, Italian and the finished portrait of “Mayan Woman” in my next exhibition. My intention is to show this collection in major cities like Los Angeles, Miami and New York in America as well as in Europe.

I have also decided to work on a novelette that will be accessible online.

*Exhibition in formation: INTERCULTURAL / Photographic works by Sheinina Lolita Raj, April 6 – 16, 2016, Elaine Fleck Gallery, 1351 Queen St. West,  Toronto. Gallery hours: Mon, Wed, Thur & Fri: 12 – 6 pm, Sat: 11 am – 6 pm.

ReWilding, an exhibition of large-scale paintings by Sarah Carlson at Graven Feather, encourages us through personal mythologies to re-imagine and re-visit our wild roots. Sarah Carlson’s nostalgia-inducing topographical scenes of Canadian landscapes reposition our figurative human form to forge a deeper, tenderer connection with nature. Some of the landscapes were captured en-plein-air during her ten-day residency in Algonquin Park. Given this experience, it is not difficult to discern a familiar romanticization of nature not unlike Carlson’s Canadian outdoor-painter predecessors. The painting “Save Wolf Lake” (2016) of a hiker overlooking a lake is of particular importance as the site of Wolf Lake is in danger of excavation, and the title operates as a call for action. The work on cutout reclaimed wood board presents a moment of serenity at risk of being lost.

Sarah Carlson in front of Save Wolf Lake, 48 x 48”, acrylic on wood (left) and Biologique, 60 x 48”, acrylic on birch (right). Photo: Alice Pelot

Carlson’s paintings are not only representations of her direct experience in wilderness; she also captures a Narnian environment for the intimate and spiritual co-habitation of humans and animals. The five large acrylic paintings glow with a vibrant orange and pink base layer like the highlighter pink accents in the paintings of her contemporary Kim Dorland. It is this use of synthetic colours, combined with topographical imagery that reveals Carlson’s personality and emphasizes in her practice a balance between self and nature. Among all the colourful, dynamic, wispy brushstrokes, the multiple layers of landscape are still discernible, each has its own bright tone and successfully demonstrates a skillful landscape painting technique. In addition to the paintings, Carlson has chosen to exhibit a sculptural wall-hanging work titled “Connected”(2016). It  is composed of a think slice of a found, hollow tree trunk including rings, insect markings and fungus. Inside this wooden ring are small quartz strung on wire and stretched across like a dream catcher. Behind the wood, reflecting off the wall, is a colourful diode light perfectly complimenting Carlson’s painting style in which synthetic colour highlights and vaguely outlines natural forms.

Sarah Carlson, Last Child in the Woods, 48 x 48”, oil and acrylic on birch. Photo: Alice Pelot

Sarah Carlson, Rewilding, 48 x 72, acrylic on canvas. Image courtesy of Graven Feather

Carlson describes the scenes as “environments for both human and non-human animals.” She does not separate ‘human’ as the civilized from ‘animals’ as the barbaric. Instead, the wild landscape levels the field of existence and vulnerability, evidenced in her paintings by the pairing of figure with animal such as a wolf, deer and bear (bringing to mind the tradition of spirit animals). In Carlson’s self-portrait titled “Biologique” (2016), we get a sense for her personal connection to nature and wilderness. A bird nests in her hair which is portrayed as tree roots, her face is metaphorically painted in the clouds, her ear echoes the shape of mushrooms, her ribs are composed of tree branches and an antler, she is fully integrated with the landscape. In this version of nature, so thoroughly blurring the lines between human and non-human, Carlson highlights how we (humans) seem more vulnerable to a fate linear to natures.

Installation view with Sarah Carlson’s paintings (from left to right:) Corridor, 48 x 72”, acrylic on canvas, Save Wolf Lake, 48 x 48”, acrylic on wood and Biologique, 60 x 48”, acrylic on birch. Photo: Alice Pelot

Alice Pelot

*Exhibition information: April 6 – May 1, 2016, Graven Feather, 906 Queen Street West. Gallery hours: Thur – Sat, 12 – 7 p.m.

Artists from left to right: Adam Boyce, Ebony Jansen, Shaan Taseer, Linda DeLuca, Huy Lam. On the wall: Huy Lam’s works on wood, Shaan Taseer’s water colours and Andrea Zadro’s drawing

Sunday, April 3, 2016 / 6 pm
Black Cat Gallery
2186 Dundas Street West, Toronto

This past Sunday, on April 3rd, Andrew Williamson, of The Black Cat, teamed up with Toronto artist, Ebony Jansen to host an event called Sips and Crits. He had heard about her hosting artists at her home to have critical discussions about their work that was new, almost complete, or still in progress. Williamson thought it was a great idea and wanted to open it up to more artists. This event gives artist a space in which they can bounce ideas off one another and see what is working for their pieces or what could be changed or learn about another ways of getting a better final product.

Artists from left to right: Ebony Jansen, Huy Lam, Shaan Taseer, Linda DeLuca in front of  Huy Lam’s work

The artists that were featured that night were Andrea Zadro, Huy Lam, Linda DeLuca and Shaan Taseer; while two other artists, Adam Boyce, and Kevin Carey, came to check out what it was all about. Each artist took about 15 minutes to chat about where they were with their works and then opened the floor to the others’ opinions.

Linda DeLuca discussing her works

Each artist voiced how they appreciated having a space in order to have discussion that featured well balanced ideas and comprehensive analysis. It was such a welcoming and kind space in which strangers really came together. There was a feeling of comradely in the room as everyone chatted.

Artists from left to right: Kevin Carey, Andrew Williamson, Andrea Zadro, Adam Boyce and Ebony Jansen

As we were all getting ready and packing up, everyone was discussing how this event could be the start of a wonderful community of artists in Toronto. Williamson and Jansen agreed of having the event run again. There is a limited space for only 15 artists each time. I would highly recommend the event for artists of all walks of life to give it a shot.

Text and photo: Emily Newell

Ed Pien’s major walk-through installation, Memento completely fills the main space of Birch Contemporary. The hand-knotted net spanning the width and height of the space is populated by small figurative silhouettes. In the center of the net is a video of a man washing up on the shore or being dragged out to sea at the mercy of the crashing waves, which is accessible by climbing in among the ropes into the holes made for viewing.  Hanging above the work are oval mirrors reflecting video footage of migrating crowds onto the walls. As we mingle among the small silhouette cutouts, the ropes take on enveloping metaphors for the trials of illegal immigrants such as fishing nets, and security traps. Paired with the video footage of a man at his most vulnerable, stripped of agency by nature, the net also acts as a more intimate metaphor for the human nervous or circulatory system. 

Ed Pien is a Canadian artist based in Toronto who immigrated here with his family from Taiwan at the age of eleven. Memento is a work that reflects Pien’s research into the increasingly urgent struggles of illegal immigrants for countries in crisis such as Syria and North Africa who take great risks in the hope of finding a safe home. With an awareness of this theme, the ropes also seem to be a metaphor mapping the movements of these immigrants. 

Memento contains processes and imagery that reoccurs throughout Pien’s practice. In his two dimensional works, cutout silhouettes of figures dangle from branches and ropes. A similar knotted net and video projection composed the large installation titled “Corridor,” (2010-12) and the method of hanging reflective material to display video projections was established in his work “From Thin Air” (2010). Pien’s installation “Deep Waters” (2001) demonstrated not a common process or material, but a common thematic interest that reoccurs in Memento. “Deep Waters” was developed from a Taiwanese mythology in which the souls of the drowned could be set free in exchange for new victims. It is ultimately an interest in lost souls that emerges through Pien’s research of illegal immigration, an attempt to empathize with the state of the displaced, the forgotten, unseen or disappeared. 

In relation to real events, “Deep Waters” might recall the cockle pickers tragedy in which illegal workers drowned due to dangerous conditions, however Memento refers not to a specific event as much as to a dangerous experience. Pien’s engaging installation is not a devastating, vulnerability-inducing ride, but it is an effective metaphor, and an experience with a resonating narrative drawing attention to political crisis.

Text and photo: Alice Pelot

*Exhibition information: March 17 – April 23, 2016, Birch Contemporary, 129 Tecumseth Street, Toronto. Gallery hours: Wed–Fri 10 am – 6 pm, Sat 11 am – 5 pm.

Toronto isn’t a homogeneous city. People who live here have varying city identities: a resident of Parkdale, an east-ender, someone who lives in the core…you get it. Even it’s affectionate moniker as a “city of neighbourhoods” reflects on the unique qualities of each little regional pocket.

And at a time where Torontonians are branding themselves with hyper-local swag like subway stop buttons or neighbourhood beanies, the art of Toronto Bingo has sprung up with an uncanny ability unite us all. Toronto Bingo is the name of an instagram account that posts daily illustrations of quintessential moments in this city. The artworks picks up on the intangible feeling of what it’s like to call Toronto home. 

The illustrations are composed of Toronto-specific feelings and memories which no tourist would ever be able to tap into. Drawings of the dead raccoon memorial, or the last remaining moose sculpture (circa year 2000) make it feel like we’re all in on one big inside joke, only accessible after years of living with the city’s quirks. 

Last week, I got to sit down with Natalie and Rachel, the masterminds behind Toronto Bingo to talk about their artwork and journey.

They tell me that it all started off as a joke among friends on twitter, as they tweeted about these notorious city-specific moments such as catching an amateur modeling shoot in graffiti alley, or passing by the dreamy lights on Palmerston ave. The tweets turned into a two-person art collaboration as Natalie added drawings to tweets and Rachel managed the copy behind each quirky caption as well as the social media. The two had originally planned to only create a 5 x 5 bingo square of Toronto-isms, but were inspired to keep going when their illustrations began to blow up online. “Our hit came when Matt Galloway [the host of Metro Morning] gave us an on-air shout out after we tweeted one of our squares at him! – said Natalie” . Following that, there were Buzzfeed articles, CBC shout-outs, and a supportive Instagram fan-base from all over the city.

Rachel reflected on the value of being a two-woman operation (often mistaken for a single male artist) as she told me that both her and Natalie bounce ideas off each other for new bingo squares. “If it was just one person there would be no editorial review” – said Rachel. They have a running list of illustration ideas that they pick from and constantly update. Also included were sentiments about the perception of women in comedy and art, and the reaction of some fans who were shocked that the brains behind Toronto Bingo were female. 

“ It’s definitely something we’ve had to think about, it’s like when people are surprised that we’re women… why? Why are you surprised? Girls are hilarious, some of the funniest people I know are girls. But then you don’t want to get into that dialogue because it perpetuates the whole thing. I think we’re hilarious” – added Rachel. 

Though aside from this, both women were glowing about their supporters and followers. It seemed to be the real reason behind this passion project of theirs. The level of engagement for their artwork is rare, as they regularly get dozens of people commenting daily on their posts. Apparently they’ve even got a steady fan base of users that comment and like every new drawing (I might be one of those people, they write). Rachel and Natalie have decided to take this engagement and do something meaningful with it.

In May, the duo plans to take their artwork offline and get their fans to interact with the city IRL. They’re hosting a Toronto-wide scavenger hunt where teams of 4 – 6 will competitively take to the streets and upload photos of Toronto Bingo moments. In fact, Natalie even gave me a clue saying that one scavenger missions would be to upload images of 4 artistic traffic signal boxes, or to recreate some of their favorite bingo squares. All the funds go to the Regent Park School of Music in hopes of giving several children the opportunity to get music equipment and lessons.

Personally, the reason why I’m so in love with these simple drawings is the fact that they revive a sense of urbanism and civic ties among strangers, and more than that – they’re accessible to anyone. This city seems to have two very distinct understandings of art. One is the traditional gallery-style which features art that is locked away behind glass cages. The other is the growing rise of more public artwork: new street murals, Nuite Blanche, and online galleries like that of Toronto Bingo.

I’m sure that one of the reasons why Rachel and Natalie are receiving so much online support is the fact that they’ve been able to tap into a universalism of Toronto, a collective consciousness of the city that is experienced by so many of us. It’s a pleasant change from other artwork that needs to be decrypted by artists’ statements and years of art education. They site is easy to find, you can look at it in the morning through your subway ride, it is part of our social media. The message they send is simple: we’re all living in this less-than-perfect city, but we love it for all of it’s flaws. I feel that way. Don’t you?

Text and photo: Ella Gorevalov

*You can check out Toronto Bingo on instagram.com/torontobingo, or on their website  www.toronto-bingo.com and grab a ticket for their upcoming city scavenger hunt on here: https://www.facebook.com/events/221124438225628/

 

20th Anniversary Exhibition and Celebration
March 24, 2016 / 6:30 – 9:30 pm
Propeller Gallery
30 Abell Street, Toronto

Artists, friends and visitors were treated to a visual celebration of works by current and past members of Propeller. The evening was a wet one though a little rain didn’t dampen the enthusiasm of the night’s Agenda.

My first visit to Propeller Centre was 20 years ago when it was located at 96 Spadina, in the Darling Building, back in 1996. There were some great exhibits there and it was a time when the art scene was booming along Spadina. Propeller occupied such a small space that the artist sitting the show had a chair in the doorway. There were many galleries at 80 Spadina, 96 Spadina and 401 Richmond Street, that you needed a whole Saturday to visit them all. Around 2000 galleries started to move to Queen St. West following MOCCA, Edward Day, Deleon White  and Clint Roenisch. Small window galleries had already started the Queen Street West scene including ZSA ZSA, Angell Gallery, Spin Gallery, SIS BOOM BAH and loop among others. Propeller’s move to 984 Queen Street West in a prime location gave it excellent foot traffic as visitors migrated from gallery to gallery. We all loved its bright yellow portal and the two airy galleries, a perfect space for two solo shows. Rents on Queen Street West  started to go up and again it was time to move further west. Artscape had a gallery space at its Triangle Loft Building at 30 Abell Street and Propeller moved into its current location in January, 2015. Due to street construction it has impaired walking visitor traffic but the Gallery has spread the word and art enthusiasts have a way of discovering where to look.

The exhibition celebrating the gallery’s 20 years shows works by members who are with Propeller for a long time and new ones, some of them just joined recently, side by side. Board members Joseph Muscat and Frances Patella both had works in the exhibit and were keeping the party going. Another long term member, Dominique Prevost, had a wonderful water colour work and Gwen Tooth had a vibrant abstract piece in the show.

Board member, Joseph Muscat with his painting

Board member and Co-Chair, Frances Patella in front of her work

Member, Michelle Letarte

Member, Dominique Prevost with friend, Kathy Boschen

New member Anastessia Bettas encaustic works and Jane Murdock Adams’ sculpture installation of canoes were very popular.

Anastessia Bettas with her piece

Propeller  Centre for the Arts is celebrating 20 years and no doubt looking forward to the next 20 years and what that will bring. Being around for 20 years is in itself no small accomplishment and kudos to all those that worked hard to keep the fires burning.

Text and photo: Phil Anderson

A Reflection on 20 years at Propeller

Ringing in 20 years at Propeller last Thursday night, I was introduced to a group of artists, collaborators and most importantly friends, who for the last two decades have built a widely regarded and successful artist run centre. The night’s festivities were ones of excitement for the future of Propeller. Frances Patella, Co-Chair and artist at the collective, began the evening with birthday cake and warm words to the intimate crowd gathered before her.

Birthday Cake and other Celebrations at Propeller with artist Gideon Tomaschoff (left)

In hushed tones, Patella revealed the plans for Propeller, goals centered around more sustainable governance. Specifically, she aims to increase membership, encourage outside groups to rent the space for exhibitions and engage with the surrounding community. One mentioned project was a summer arts festival in the adjacent city park.

Frances Patella, co-chair of Propeller Gallery, delivering the opening statement on 20th anniversary

As the evening wore on, my wanderings brought many welcomed encounters with Propeller artists, both past and present. I had the pleasure of discussing Gertrude Kearns’ fascination with soldiers and members of the Canadian armed forces. Before us were her three portraits of military commanders. The prints are a bold blend of black contours and overlapping text, where each subject is rendered with a fresh humanity. The relaxed pose and calm assurance of the “Protector who dares to win” disarms each viewer as they dare to glance at the work. Kearns, herself has spent sometime in Afghanistan as Canada’s official war artist and is currently in residence at the Royal Canadian Military Institute of Toronto.

Gertrude Kearns, Canadian Afghan War Series: Protector (middle image), 2011-2012, Giclee print, 18” x 13”

Next, I was drawn to the organic lines and solemn monochromes of Keijo Tapanainen’s “Bolero,” which incited a quiet conversation with the artist, a Propeller member since 2000. I was surprised to learn that Keijo’s entrance into the world of fine art was one of happy chance. Though not classically trained, his mixed media collage reflect a creator well versed in the histories of art. The influences of Matisse, Picasso, Hannah Hoch, John Heartfield seem subtly stated and yet, rendered in a contemporary language accessible to the uninformed viewer.

Keijo Tapanainen, Bolero, 2002, Digital Collage, 30” x 22”

Jim Bourke, Happy & Hours, 2013, Encaustic on canvas, 36” x 36”

Eventually, as the evening winded down I came across Propeller’s director, Nathan Heuvingh. As the administrative head, his duties include the complex programming of the centre. This task, though modestly described, involves curating and installing upwards of 40 shows a year, a new exhibition takes place at Propeller every two to three weeks. The 30 odd members of Propeller are expected to exhibit at least once every two years. As the din of the party roared around us, I was able to pose a crucial question to Heuvingh. How has Propeller maintained its success, especially as more and more artist run centers struggle to survive? His answer was immediate and unflinching. The members, who may come and go over the years, but maintain a dedication to Propeller and its existence. He emphasized the collaborative nature of Propeller, where not only group exhibitions attest to this, but also the volunteers that organize, install and market each show. The second ingredient he stressed, is the artistic license offered to its artists. The gallery operates outside of any grants, and as such they are not restricted by the inherent clauses and guidelines of government funding.

Tai Kim, Metta in. I.I, 2015, Acrylics on Canvas, 30” x 20”

Heather Gentleman, Epithalamium II, 2016, Encaustic, 20” x 30”

With these artists, their art, and their distinctive presence in the gallery, I only expect further success for the dynamic collective at Propeller.

From left to right: Jane Murdoch Adams, Our Cottage Canoe #1, #2, #3, 2012, Willow and Dogwood branches with Japanese paper, 36” x 10” and Ross Winter, Palimpsest – London #1, (detail) 2015, Archival pigment transfer to aluminum, 16” x 12”.

Text and photo: Meghan O’Callaghan

*Exhibition information: 20|20: Propeller 20th Anniversary Retrospective Exhibition, March 24 – April 3, 2016, Propeller Gallery, 30 Abell Street, Toronto. Gallery hours: Wed – Sat: 12 – 6, Sun: 12 – 5 pm.