Exhibitions & Fairs
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.




3 November 2017 - 11:27, by , in Exhibitions & Fairs, Comments off

Gallery Jones is pleased to be participating in Art Toronto from October 27-30, 2017, and exhibiting works by several artists including Peter Aspell, Cole Morgan and Danny Singer. Please find us at booth A53.

For more information, click here for the Art Toronto website.

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.

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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 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 seattleartfair.com.

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″.
19 July 2017 - 15:46, by , in Exhibitions & Fairs, Comments off

Opening reception: The Flats Block Party, Saturday, July 15, 2 – 4 p.m.

Exhibition dates: July 15 – August 19, 2017

Vishal Marapon, Vermont Street, 24 x 19 inches, lightjet print, edition of 12
Vishal Marapon, Vermont Street, 24 x 19 inches, lightjet print, edition of 12

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.

2 June 2017 - 14:45, by , in Artists Press, Exhibitions & Fairs, Comments off

Opening reception: Saturday, June 8, 2 – 4 p.m

Exhibition dates: June 8 – July 8, 2017

Otto Rogers, Trumpet’s Song, acrylic on canvas, 48 x 54 inches


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.


21 April 2017 - 14:30, by , in Artists Press, Exhibitions & Fairs, Comments off

Opening reception: Saturday, May 6, 2 – 4 p.m

Artist in Attendance

Exhibition dates: May 4 – June 3, 2017

17-02 They're Over In The Corner 30x40 oil on canvas
Ross Penhall, They’re Over in the Corner, oil on canvas, 30 x 40 inches.


Living in the Complexity of an Effort* presents the acclaimed Vancouver-based painter Ross Penhall in an exhibition of selected new works. The large-scale paintings describe the West Coast landscapes of British Columbia and California with the blues, yellows, browns and greens that make the artist’s style so recognizable.

In the works, shadows play at the edge of light– illuminating trees, fields, and mountains in a checkerboard fashion. The paintings throw colour over the landscape like a quilt, softening its edges and smoothing out detail. Penhall calls these images a “reminiscence of what you see,” seemingly perceptual memories of passing glances.

Penhall’s works, and the incredible attention they receive, enter into dialogue with Canada’s long tradition of landscape painting. His view presents a curious dilemma: nature is ordered and sculpted, yet devoid of human presence. These landscapes, softened to near abstraction, exist somewhere between the once-wildly primitive West Coast and our urban reality: a nod to humanity’s ever-changing relationship to the natural environment.


*quote from Janna Malamud Smith’s book An Absorbing Errand


3 March 2017 - 15:15, by , in Exhibitions & Fairs, Comments off

Opening reception: Saturday, April 1, 2 – 4 p.m.

Exhibition dates: April 1 – 29, 2017

Mike Bayne, Three Wavy Lines, D, Horse, oil on panel, 4″ x 6″.
Danny Singer, Admiral, archival inkjet on paper, 23″ x 87″, edition of 7.

ARTIFACT brings together two Canadian artists who approach the same subject matter in very different ways. The large-scale photographs by Danny Singer (many of which are wider than 7 feet) and the small-scale paintings by Mike Bayne (the majority in this exhibition are snap-shot size, i.e. 4 x 6 inches) are both documentations of a time and place.

Singer’s photographs of the main streets of towns and hamlets on the plains of North America are represented through multiple perspectives coalesced into one frame that exceed the real-life scope of the human eye. These sparse, yet inhabited landscapes juxtapose a constructed domesticity with the vast and sublime presence of sky and cloud.

Bayne’s paintings, in comparison, transform urban spaces through an incredible force of will, or patience, on the part of the artist. Everyday banal sights are represented as photographic glances, rendered in pointed perfection on small painted panels. The subject of these moments are the ubiquitous details of humans dwelling in proximity to each other: backyard sheds, strip mall signs, cookie-cutter homes.

In Artifact, Singer’s monumental photographs present a plurality of perspectives that dialogue with Bayne’s meticulous paintings: there are many ways to see the simplest things.