Artists Press
17 November 2017 - 12:47, by , in Artists Press, Comments off

German sculptor Katja Strunz has written some personal reflections on Markus Schaller’s new body of work, Space Garden. Strunz comments intuitively on the role of sculpture in the digital age, where the body and objects often “disappear.”

“In his essay Gegenkörper (counter body) philosopher Bjung Chul Han (Professor at the University of Arts (UdK) in Berlin) reflects on a poem by the austrian novelist Peter Handtke: the slight pressure you need to open an old iron door makes you happy. You need to lean against an old door to open it. The electric door however does not make a stand against the human body. And within digital structures, resistance, the resistance of an object, even more the object itself, gets lost…”

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10 November 2017 - 14:46, by , in Artists Press, Exhibitions & Fairs, Gallery Jones News, Comments off

Opening reception:  Thursday, November 23rd, 5 – 8 p.m.

Artist talk:  Saturday, November 25th, 2 p.m.

Exhibition dates: November 23rd – January 13th, 2018.


Markus Schaller, Microcosmic Excitement, 30 x 30 x 3 cm, embossed anodized aluminum


Gallery Jones is very pleased to present John Patkau’s inaugural exhibition, Cut / Drawn, in conjunction with an exhibition of new work by minimalist German sculptor Markus Schaller, Space Garden. Though the artists’ styles are each distinct, the works in Cut / Drawn and Space Garden combine to delve into the nature of metal as a vehicle for artistic expression.

The wonderful contradiction in John Patkau’s work is between the strength of steel and its point of failure. It is in that liminal space that the conversation begins; between what our communal expectations and knowledge of the material are, and what the material can be.

Steel is an alloy of iron, one of the most abundant elements on the planet. The ubiquity of steel is a testament to humanity’s success in creating a useful material for all manner of building, making and invention. The word steel has even become synonymous with strength, occupying a place in our lexicon alongside fortitude and resilience.

Cut / Drawn, the title of this body of work by John Patkau, refers to large cuts made in sheets of steel and the enormous tension applied to them as they are pulled to the point of failure. Patkau’s interventions with industrially rolled steel sheets were initiated from a place of curiosity. When subjected to tension, the steel reacts and unfurls in unpredictable ways. Patkau’s sculptures, which exhibit a certain formal elegance, are a physical index of his creation process. Their contours at once expose the vulnerabilities of steel while opening the material up to new avenues of meaning.

The architectural work of John Patkau has received national and international recognition over the past 25 years, including 10 Governor General’s Medals. Patkau Architects represented Canada at the Venice Biennale in 1996, currently has work exhibited at the Victoria and Albert Museum in London, England, and has recently completed the Audain Art Museum in Whistler and nearing completion on the Polygon Gallery in North Vancouver. Patkau Architects work has been featured in and the subject of numerous books, most recently “Material Operations” (2017), published by Princeton Architectural Press.


Markus Schaller lives and works in Berlin, Germany. In Space Garden, he departs from his signature style- heavy forged steel sculptures- to create two-dimensional wall-hangings of embossed aluminum. While still minimalist, these handmade works have a sense of intricacy and balance that sets them apart from his former work. The kaleidoscopic patterning on the metal is sharply symmetrical, with angled sections that reflect the light.

For many years, Schaller’s work has thoughtfully contrasted the immense force involved in forging steel objects with the more intimate practice of stamping. Often hidden away on the surface of his large forged sculptures are delicate poems and texts specific to the work, hand-stamped letter by letter. The connection of stamping with a deeper poetic or philosophical meaning is reinstated as a motif in Schaller’s new sculptures, where geometric markings in aluminum represent a starting point for a dialogue around fundamental forms in nature.

The patterns in Schaller’s recent embossed aluminum work are based on universal principles- in particular the mathematical sciences around crystalline structures, known as Penrose and Kepler tilings. These “impossible” aperiodic tilings were presented as a mathematical theorem in the 1960’s and amazingly discovered some twenty years later in the atomic structure of aluminum alloys. The unusual Penrose and Kepler symmetries imprinted on the surface Schaller’s wall-hangings bear a profound comprehension- one originating with the ancient Greeks- that the universe at its most elementary level is a geometric composition.

Schaller’s work has been featured in the Vancouver Sculpture Biennale, with installations in English Bay and in front of the Vancouver Library, and he has also represented Germany at the Venice Biennale. His work is included in private, public and corporate collections around the world.


Click here to download the full press release.




27 October 2017 - 15:48, by , in Artists Press, Gallery Jones News, Comments off
“Unapologetic – Romantic Notions of a Modern Woman,” 2017 acrylic and graphite on canvas, 72” x 72”
Unapologetic – Romantic Notions of a Modern Woman, 2017 acrylic and graphite on canvas, 72” x 72”

Western Canadian art blog and magazine Galleries West has published a descriptive review of Sara Robichaud’s exhibition at Gallery Jones Unapologetic- Romantic Notions of a Modern Woman (Oct. 13-Nov. 18, 2017).

Click here for the article, Sara Robichaud Makes No Apologies, written by Portia Priegert.

20 October 2017 - 12:37, by , in Artists Press, Gallery Jones News, Comments off
Pierre Coupey, "Untitled XXX", 2016, oil on canvas, 76 x 90 inches
Pierre Coupey, Untitled XXX, 2016, oil on canvas, 76 x 90 inches

Pierre Coupey’s solo exhibition ACROSS | BETWEEN | WITHIN (October 13 – November 4th, 2017) at the Odon Wagner Gallery, Toronto, has been reviewed by Dion Kliner on New York City-based art blog Two Coats of Paint.

Kliner describes Coupey’s paintings as “lush and wet, the paint’s viscous materiality so thinned that it runs down in rivulets creating a gravitational flow, making the paintings look as if they could slide right off their supports.”

Click here for the full article.

20 October 2017 - 12:15, by , in Artists Press, Gallery Jones News, Comments off
Brendan Tang receives the Mayor's Art Award / Photo by Sarah Race
Brendan Tang receives the Mayor’s Art Award / Photo by Sarah Race

Congratulations to Brendan Tang, who has received the Mayor’s Arts Award for Craft and Design in Vancouver for 2017. The Mayor’s Arts Awards recognize 25 of the “best and brightest” creative minds in the city, in a broad range of artistic disciplines from visual to culinary and literary arts. Honourees receive a cash award and are selected for:

  • Making significant contributions to their selected disciplines
  • Achieving or contributing to artistic excellence
  • Showing leadership and support to Vancouver’s diverse cultural communities in their careers

On October 11th, 2017, Brendan Tang and the other honourees and selected emerging artists were presented their award by Mayor Gregor Robertson at the Roundhouse Community Arts & Recreation Centre in Vancouver.

Click here for the full press release.


6 October 2017 - 15:50, by , in Artists Press, Exhibitions & Fairs, Comments off

Opening reception: Saturday, October 14, 2-4 pm.

Exhibition dates: October 13 – November 18, 2017.

Super Supercharger with Turbocharger, ceramic, 25 x 20 x 21 inches.
Super Supercharger with Turbocharger, ceramic, 25 x 20 x 21 inches.

Excerpt from an essay on Clint Neufeld’s work by Jen Budney, an independent writer and curator, from the catalogue for the exhibition “Flatlanders” (Mendel Art Gallery, 2008):

Clint Neufeld’s sculptures involve an intricate play between contradictory forms, materials, and purposes. For the last few years, since graduating with an MFA from Concordia University in Montreal, Neufeld has been working with the most “Saskatchewan” of forms: engines, excavating buckets, and other mechanical devices that are employed with great frequency throughout the province. Yet, unlike the real objects, Neufeld’s sculptures are not made with industrial materials. Rather, they are lovingly handcrafted from such substances as porcelain and wax.

“Although I acknowledge one could read a comment on gender in my work, that’s not my primary intention,” Neufeld said. “I’m simply interested in taking familiar objects and transforming them just a bit, so that we can look at them from a different point of view.” Influenced initially by sculptors such as the minimalist Donald Judd, who simplified his forms in order to make people pay close attention, Neufeld has also been inspired by installation artists like Ann Hamilton, whose works are much more theatrical and literary. There is an element in his work that hearkens to a different time, a time that was both simpler and perhaps a bit more genteel.

Click here to download press release.

6 October 2017 - 15:43, by , in Artists Press, Exhibitions & Fairs, Comments off

Opening reception: Saturday, October 14, 2-4 pm.

Exhibition dates: October 13 – November 18, 2017.

milky when wet, acrylic and graphite on canvas, 30 x 24 inches.

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 press release.





8 September 2017 - 14:39, by , in Artists Press, Exhibitions & Fairs, Gallery Jones News, Comments off

Opening reception: Thursday, September 14th, 5 – 8 p.m.

Exhibition dates: September 8 – October 11, 2017.

In Between Water and Sky, acrylic on canvas, 48 x 66 inches.

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.

3 September 2017 - 13:34, by , in Artists Press, Gallery Jones News, Comments off
Winnipeg Skating Shelters at the V&A / Photo courtesy of

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.

Inside a Winnipeg Skating Shelter / Photo courtesy of
Inside a Winnipeg Skating Shelter / Photo courtesy of
3 August 2017 - 13:06, by , in Artists Press, Exhibitions & Fairs, Gallery Jones News, Comments off

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

Cole Morgan, “Arc Maze”, mixed media on linen, 160cm x 190cm.
James Nizam, "Four Circles", 2013, 36" × 30", Archival Pigment Print on Fibre Paper edition of 5 + 1AP (Also available in 60” x 48”).
James Nizam, Four Circles, 2013, 36″ × 30″, Archival Pigment Print on Fibre Paper edition of 5 + 1AP (Also available in 60” x 48”).
Peter Aspell, "White Eden", oil on canvas, 65" x 72".
Peter Aspell, White Eden, oil on canvas, 65″ x 72″.