Exhibition Dates: September 10 – October 11, 2016
Brendan Tang’s ceramic creations have been exhibited and collected widely. In the past few years his work has been exhibited at the Museum of Fine Arts in Boston, Ariana Museum in Geneva, Musée Magnelli in Vallauris, France as well as in Shanghai, Limoges, Seattle, Kansas City, Reno, Toronto, Montréal to name just a few. This exhibition at Gallery Jones brings together pieces from the Manga Ormolu series that have been garnering critical attention nationally and internationally, entirely new work from the studio and an exciting new series of suspended sculptures that play in the realm of pop cultural appropriation.
There is a catalogue that accompanies the exhibition and the following is an excerpt from the essay by Shaun Dacey, Curator at Contemporary Art Gallery, Vancouver:
For Tang, the initial impetus of the work emerges from the historical context of ormolu. The act of Europeans adding ormolu (gold and bronze gilt mounts) to Chinese made ceramics emerged in 18th century France after the explosion of Ming Dynasty ceramic imports in preceding centuries. Through the development of new techniques and experimentation in vessel shape and colour influenced by contact with Islam, Chinese ceramics emerged as a highly sought after luxury object in European aristocracy. Capitalizing on this, the industry shifted to focus on export to the west. Chinese ceramists began to produce compositions specifically for their western audience. European importers in turn began to adding ormolu to ‘westernize’ the vessels. These original mash-ups are a physical representation of the cross-cultural exchange at the time. They speak to the evolutionary nature of a globalized market, and a complex timeline of influence from Islam to China, and eventually Europe.
Responding to this early modern mash-up ormolu, Tang offers us a skilled slight of the hand. When one encounters these impossibly surreal objects, the spectacle is astounding. But, on closer inspection the magic trick is slowly exposed. The artist’s hand becomes made evident. Perfect copies, the two duelling forms are fantasy. Beyond this showmanship and baroque virtuosity, the series speaks to a transience. Tang’s connection of traditional and future forms rest in-between the malleability and friction of ethno-pop-cultural identity, an amalgam of western perceptions of ‘Asian-ness’. As apparent by its titling, Manga Ormolu is both hybrid and transitional, a very physical collision between compositional and stylistic tropes that evoke cultural stereotypes.
JEFF DEPNER & RICHARD STORMS: UNFOLD, REBUILD
Opening reception: Saturday, May 28, 2-4pm.
Exhibition dates: May 28-June 25, 2016.
The paintings in this exhibition by Richard Storms and Jeff Depner reflect the built environment, expose the structure of a well articulated painting and wallow in the tactile nature of something hand-made. The thick, kneaded surface of Depner’s smaller paintings stands in contrast and compliment to the staccato rhythms of Storms’ crisp canvases. Both artists are concerned with breaking something down and building it up, with an aesthetic wholeness reached at some point between abstraction and function; Depner’s paintings tease at a useable geometry while Storms’ hint to a place and a familiar point of view.
Richard Storms lives and works in Toronto, Ontario. He holds a Master’s Degree in Fine Art from York University and has work in numerous private and public collections across the country, including The Art Gallery of Hamilton, The Musée d’Arte Contemporain in Montreal, the University of Toronto and the Royal Bank of Canada.
Jeff Depner lives and works in Vancouver, British Columbia. Depner is also represented in New York City and Cologne, Germany, and has exhibited internationally at Scope Basel and New York, among other venues.
Richard Storms, “Financial District”, 2016, mixed media on canvas, 60″ x 84″.
Jeff Depner, “Echo”, 2016, mixed media on canvas, 22″ x 14.5″.
Opening reception: Saturday, April 30, 2-4pm.
Exhibition dates: April 30 – May 21, 2016.
Orphismic is a nw series of works combining multi-layered, sprayed acrylic with thick layers of impasto oil paint. The titled of the show refers to a style coined by Guillaume Apollinaire to describe works which immerse the viewer in pure aesthetic pleasure while retaining a sense of structure and sublime meaning; however, this is where the relationship ends.
While Orphism defined images created entirely from the artist’s consciousness, the forms in Vergette’s paintings are culled from vintage T-shirt graphics. The graphics have been partially recreated, but the original meaning has been lost and the viewer is left with the minimal form as a waymarker.
Life’s Too Short Not To Be In Love, 2016
Oil and acrylic on canvas over panel
72″ x 48″
Gallery Jones is pleased to present the first Canadian exhibition of work by Erin O’Keefe, who is based in New York City and New Brunswick, Canada. She received a Bachelor of Fine Arts from Cornell University and a Master’s of Architecture from Columbia University.
I am a photographer and an architect, and my work is informed by both of these disciplines. My background in architecture is the underpinning for my art practice, providing my first sustained exposure to the issues and questions that I contend with in my photographs. The questions that I ask through my work are about the nature of spatial perception, and the tools that I use are rooted in the abstract, formal language of making that I developed as an architect. As a photographer, I am interested in the layer of distortion and misapprehension introduced by the camera as it translates three dimensional form and space into two dimensional image. This inevitable and often fruitful misalignment is the central issue in my work.
O’Keefe’s constructions, built from mundane objects such as painted plywood and tinted Plexiglas, are made to be photographed. While there is implicitly a deconstruction of photography going on in these works that play at being paintings or even architectural definitions of space, what seems of paramount importance to the artist is the image; its qualities, textures and compositions.
Opening reception: Saturday, March 5, 2 – 4pm
Exhibition continues until March 30th.
Jonathan Forrest is a Canadian painter who splits his time between Vancouver Island and a small town in Saskatchewan, where he has a studio in a renovated church. He completed his Masters Degree in Fine Art at the University of Saskatchewan in 1991 and has maintained a studio practice for several decades. His work is in the collections of numerous significant Canadian collections, including the Canada Council Art Bank, the Glenbow Museum, the Mendel Art Gallery, the Art Gallery of Alberta and the Bank of Montreal Collection.
From his artist statement:
My work is a combination of intuitive responses to the world around me, an ongoing dialogue with contemporary and historical painting, and an enthusiastic immersion in the material process of making objects. My natural openness and curiosity has kept me alert to a range of potential approaches to art-making and my creative process is positive – I’m interested in creating something new, something generous and giving, and something that sustains me in the studio.
Brad Howe is an American artist who lives and works in Malibu, California. Howe studied International Relations at Standford University and became inspired to be an artist while visiting the University of Săo Paolo where he intended to specialize in Brazilian affairs. Howe has created several large scale, kinetic public sculptures, including at the Georgia International Convention Centre near Atlanta and at Temple University in Philadelphia. He has exhibited in more than 20 countries around the world, is collected by numerous public and private institutions and has been featured in publications such as The New York Times, The Los Angeles Times, Architectural Digest and Harper’s Bazaar.