Opening reception: Saturday, October 14, 2 – 4 p.m.
Exhibition dates: October 13 – November 18, 2017
Excerpt from Sara Robichaud’s artist statement that accompanies the exhibition:
The artworks in this exhibition stem from an ongoing painting project entitled “An Unapologetic Affair” which embodies my vision for the inclusion of my home, and the mundane routines, rituals and interactions that we live out on a daily basis, as a work of art. “Unapologetic – Romantic Notions of a Modern Woman” is a series of paintings in which I’ve traced forms and outlined cast shadows, using furniture and domestic items to create an alluring and personal visual narrative.
Over the years, I have developed an awareness of the subtle phenomena present around me at home and as part of this project, have been acting on my inclinations to draw, paint, and create using my house as a canvas. Gradually, I have transformed my home into a walk-through painting, enhancing subtle aspects of the history of our house, the objects we live with, and traces of life, making them visible but not overt.
The paintings in this Gallery exhibition are influenced by the interventions I’ve been undertaking in the house and vice versa. This seamless flow of ideas is rich, and allows for innovation as my mind operates in an alternative mode, processing possibilities and breaking perceived boundaries. The fluctuating state of my home mirrors my working process, revealing the provisional steps I take when constructing a painting, and acts like a venue to stage ideas and enact potential outcomes.
These paintings, which are made using restrained and specific formal methods rooted in non-objective abstraction, end up reading as referential / objective artworks. They are highly literal – in fact they have become still life’s of personal objects – self portraits painted abstractly. In my exploration of each object I have been patient and curious, making visible notes on the canvas in pencil to document formal characteristics and then attempting to translate the resonance of each thing in paint.
Click here to download the press release.
Opening reception: Thursday, September 14, 5 – 8 p.m.
Exhibition dates: September 8 – October 11, 2017
Gallery Jones is pleased to present new paintings by Greg Hardy in the solo exhibition Active Landscape. Hardy’s paintings provide unique windows into the prairie landscape that are the experiential perspectives of the artist. Each work has a freshness and resonance that captures a brief moment of communion with nature. They take the viewer into a rich place between realism and abstraction, where the clouds feel sculpted and the land dynamic.
In these vast scenes we experience a curious dilemma. While invoking a sense of great distance and size in the Canadian landscapes east of Saskatoon and further north in Lac La Ronge, Hardy’s visible application of paint draws attention back to the very surface of the canvas, the very last brushstroke. At once, his works gesture towards the immensity of the landscape and also expose the tactile two-dimensionality of the paint, a tension between subject and medium that Hardy exploits with vibrant extrapolations of colour.
An alumnus of the acclaimed Emma Lake Artists Workshops, Greg Hardy has exhibited extensively across Canada since 1974. For the past 30 years his work has been collected by public and private entities across North America, including The Canada Council Art Bank (Ottawa), Cenovus Energy (Calgary), Mendel Art Gallery (Saskatoon), Edmonton Art Gallery, Confederation Centre of the Arts (Charlottetown) and the Saskatchewan Arts Board. This is Greg Hardy’s third exhibition with Gallery Jones.
Click here to download the press release.
John Patkau’s Winnipeg Skating Shelters are currently on display in the courtyard at the Victoria & Albert Museum, London (July 15- November 12, 2017). The free exhibition, Plywood: Material of the Modern World, investigates the history of plywood techniques and applications.
The Winnipeg Skating Shelters existed for one season on the iced-over Assiniboine river, Winnipeg, and have been reproduced with great care for the new V&A exhibition.
Gallery Jones is pleased to be participating in the third edition of the Seattle Art Fair, opening the evening of Thursday, August 3 and continuing through Sunday, August 6. We will be featuring work by Canadian and international artists, including Peter Aspell, Cole Morgan, Paul Morstad and James Nizam. To view the works below and more visit us at stall A-3.
For more information about the fair, please visit seattleartfair.com.
Opening reception: The Flats Block Party, Saturday, July 15, 2 – 4 p.m.
Exhibition dates: July 15 – August 19, 2017
Gallery Jones presents Flat-ish, an exhibition of new works by Erin O’Keefe, Fei Disbrow, and Vishal Marapon in conjunction with the Fifth Annual Flats Block Party.
Three artists meet at an intersection in Flat-ish, where dimension, perception, and distinctions between media are called into question. In fact, it is the value of making distinctions that is under scrutiny in this exhibition as each artist prioritizes aesthetics and the essentials of colour and composition over the intrinsic qualities of the medium, whether it be a painted surface, photographic image, sculpture or collage.
New York- and New Brunswick-based artist Erin O’Keefe exposes the transformative effects of photography in her work, where small table-top constructions of mixed materials (using everything from tinted plexiglass to painted sticks and paper) are redefined in two-dimensions through photography. Informed by O’Keefe’s training as an architect, these images distort perceptions of real and imagined space in playful and profound ways.
New works by Vancouver-based artists Fei Disbrow and Vishal Marapon similarly push boundaries between mediums: photographs capture the depth, texture and colour of Disbrow’s mixed paper collages and Marapon’s bright urban landscapes while simultaneously flattening space.
We enter an age where the vast potentiality of contemporary photography is being continuously provoked, stretched, and rethought. In Flat-ish, three distinct artistic voices converge at the level of the photograph, where figure, shape and colour exist with equal emphasis.
Click here to download press release.
Erin O’Keefe’s exhibition Book of Days at Denny Gallery in New York City was recently reviewed by Artforum.
Click here to read the review by Jeff Gibson.
Book of Days exhibited new photographs by Erin O’Keefe from April 6 – May 14, 2017. This was the artist’s second solo exhibition with the gallery.
Pierre Coupey is one of several artists on display at the Kelowna Art Gallery as part of The Big Picture, a group exhibition curated by Liz Wylie that runs from April 29 to June 25, 2017.
The Big Picture brings together a selection of large-scale artworks from the gallery’s permanent collection, some of which have never been exhibited. As curator, Wylie expresses interest in the way artists “rise to the occasion” when they decide to work on a large scale. The show has a distinctly local feel: nearly half its artists are from the Okanagan, and the rest are from around the country.
The exhibition includes works by David Alexander, Rose Braun, Pierre Coupey, Cathy Daley, Jane Everett, Wendy Hamlin, Wanda Koop, Vicky Marshall, Martin Pierce, Gary Pearson, Bryan Ryley, and Alan Wood.
Click here for more information.
Opening reception: Saturday, June 8, 2 – 4 p.m.
Exhibition dates: June 8 – July 8, 2017
Gallery Jones is pleased to present work by Otto Rogers, one of Canada’s most celebrated senior abstract painters, in a solo exhibition, Recent Paintings, from June 8 – July 8, 2017.
Rogers’ work takes its origins in the abstract painting movement of the 1960’s and ‘70’s in Saskatchewan, during which time Rogers (with artists like William Perehudoff and Eli Bornstein) explored the visual correlations between the prairie landscape and abstracted forms. Out of the artistic nucleus of the Emma Lake Artists’ Workshops in northern Saskatchewan, Rogers emerged as a nationally recognized painter in the 1970’s, exhibiting in Toronto, Montréal, Paris and Milan. For nearly thirty years between 1959 and 1988, he taught art at the University of Saskatoon, mentoring artists including Douglas Bentham, Robert Christie, and Jonathan Forrest. Since then, extended periods of time living abroad and in isolated Canadian communities somewhat limited Rogers’ public profile, but continued to cultivate his individual style.
Through a muted palette, Rogers’ paintings present the viewer with shapes and textures that hint at empirical content while whispering about the creative sensibility behind each work. In this way, his paintings are able to achieve the non-referential character of North American modernist artworks, while departing from the strictness of the Greenbergian aesthetic that demanded absence of representation.
We use the word “modernist” in relation to Rogers with some caution. His work demonstrates strong Cubist influences, producing pictorial flatness through collage and the stacking of planes. Within this restriction, he expertly achieves a sense of spatial harmony without the stabilizing effects of figure and ground. And though Rogers developed and refined his style in close relation to the Abstract Expressionists, his work is imbued with a distinct sense of utopian idealism that moves past pure expressionism into the realm of the spiritual.
Rogers’ works can certainly be read in relation to the prairie landscape, but their broad interpretive potential points further and deeper into an area we may tentatively call “the self”. Rogers’ outlook on art-making is one of deep spiritual significance: he describes the process of artistic expression as “devotion” or “supplication.” Highly influenced by the teachings of the Baha’i faith, Rogers’ regard for artistic expression can be best described in his own words:
All art, by any definition, gives expression to the human condition; thus the high purpose of art is to elevate that condition and bring it into harmony with an all-loving Creator. – Otto Donald Rogers, 2007
Rogers’ spiritual perspective is manifest in the explorative quality of his abstract works: in them, the conscience is not only examined but excavated in pursuit of expressive truth. The paintings do not intend to depict a landscape or a still life scene, but within the parameters of a frame and the mediums used, they strive for transcendence through the elemental relationships of form, colour and light.
Brendan Lee Satish Tang has been mentioned in recent press as a finalist for the Spanish fashion house Leowe’s inaugural Craft Prize, an award recognizing expert craftmanship from around the world. Tang’s work, along with the other finalists, is currently on display at New York Chamber gallery.
Click here for the article in Architectural Digest
Click here for the article in Co. Design
Click here for the article in Vogue Magazine
Click here for the article in Wallpaper online magazine.
Click here to read a recent Q&A with artist Erin O’Keefe on the influence of her background in architecture, her desire to investigate things “as they are,” and her interest in the visual illusions created with light and shadow in her work, written by Taylor Dafoe.