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10 November 2016 - 17:09, by , in Artists Press, Gallery Jones News, Comments off

“Pierre Coupey’s new paintings are open and full of feeling and intelligence…”

Read the full review here.

 

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8 November 2016 - 16:00, by , in Exhibitions & Fairs, Comments off

Solo booth with Brendan Tang at Art Toronto 2016, October 28-31.

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Gallery Jones gratefully acknowledges the support of the Canada Council for the Arts.

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1 October 2016 - 16:06, by , in Artists Press, Gallery Jones News, Comments off

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ARTIST: James Nizam
TITLE: Ascensions of Time
DATES: September 8th to October 22nd, 2016
LOCATION: 108 East Broadway
TYPE: Photography and site-specific installation

Ascensions of Time explores our relationships with architecture, illumination, and time in ways that are at once physical and metaphorical. The exhibit is domiciled in a familiar armature of walls, floors, and portals: the specific space of an art gallery. We discover how light can bring architecture into being, defining its interior and exterior. Light draws out days and spaces for us. All the works gathered here speak to time as we perceive it and as it is measured out celestially. They deploy a spectrum of photographic technologies both old and new that encourage us to think through the paradox that architecture can be an extended photograph made by light in a room, or that photographs can be sculptural rather than flat images mounted on a wall. Each work functions as a station for our contemplation of how light in and on architecture also tracks time, not in the well-known sense of a building’s decay or the unfolding of styles, but because architecture is an apparatus that expands photography both spatially and temporally. Nizam asks how architecture embodies time, what architectural time is and feels like.

Sunpath (September Equinox) traces the arc the sun’s light would draw in the gallery on September 22nd, 2016. Nizam’s thinking for this exhibit began with this work and it is the first we see. While there are many paths through this exhibit, we necessarily begin here and move through the layers of a spatial model presented throughout the gallery. Formatted diagrammatically in BluePrint, on the floor Sunpath (September Equinox) is the largest piece in its dimensions and implications. Nizam’s use of light- and angle-dependent reflective glass nanospheres for this tapering crescent ensures that, from some angles, this line is invisible. Like us, it is completely reliant on light. It probes what we can see or know. Solargraph (View From Studio) is closely related but reversed: it describes how light makes architecture through time, outside instead of inside and apart from this exhibit. Nizam used time lapse photography to show not only the changing arc of the sun’s light from the start of the summer equinox until the exhibit’s opening but also to transform these accumulating lines into forms that we can construe as the facades of solid architecture. Yet these buildings across from the artist’s studio are made only of light.

In From Sunrise and To Sunset, we witness how architecture captures light and how an image that records this six-hour path can help us to see the very medium that supports our sight the first place. We might say the same about galleries and indeed art: we need both to help us see. Crucially for Nizam, these works are silently performative; he stayed in the room for the duration of the exposure. Abstracting individual vectors from the continuous registration of light on a wall and floor that make up the final shape he recorded in Frieze, Nizam plotted Moulding as a projection and reification of these lines. A play on an architectural framing element and on the notion of shaping form, Moulding pauses the durational process of defining shape and form via light. It is solid in the gallery, but its dimensions are taken from the evanescent articulations of beams of light in rooms as these define the relief of a moulding, for example. Mouldings become shadow machines.

Thoroughly but never didactically, Nizam scrutinizes dimensions of our telluric existence in terms of the physical, perceptual, and technological interiority that defines us. While he does not show people, his work is intimately concerned with our ways in the world, with the spaces and temporalities that we inhabit. His use of the camera obscura in Negative Relief and Positive Ground underlines the deep-seated link between image making and our sense of inverting figure and ground. The philosopher John Locke described the mind as the “dark room” of the understanding, a “closet, wholly shut from light, with only some little openings left, to let in external visible resemblances….” Nizam makes this observation contemporary in Negative Relief, which repurposes closet doors as a screen. As furniture, it divides the room. It also presents an image screen, a receptive surface for a neighbourhood scene captured by a camera obscura and printed in the characteristically inverted format on this piece of portable, domestic architecture. Nizam memorably calls this form a ‘sculptural Polaroid,’ upsetting art categories by intimating its everyday qualities, its dimensionality, yet also its evanescence. Positive Ground is the child of Negative Relief: while a screen must have positive and negative relief to stand up, ‘negative’ here also refers to the photographic negative of the camera obscura image that Nizam affixed to the zig-zag surface. Using negative film to photograph this screen, he creates a positive that is nonetheless anything but a copy or replica. It is a version, a relative. To suggest its difference, Positive Ground is framed and wall mounted.

It is unusual and highly satisfying to encounter a suite of works that evolve so directly from elemental ideas and relationships. Ascensions of Time would be complete in its exploration of light, time, and architecture had Nizam presented Sunpath (September Equinox) alone. Yet the ramifications added by each of the other works in the exhibit contribute layers of complexity and engagement for each viewer. We are accustomed to treating architecture as solid, semi-permanent, and dependable. Nizam, however, reveals that buildings are in significant measure made of time and light, evanescent dimensions that we may unconsciously choose to ignore or rationalize into permanence in our everyday lives. He does not work with physical structures for their own sakes: instead, he creates what he calls ‘time buildings’, works that make time visible through architecture and construct ‘buildings’ in and of time. He challenges us to see and trust these constructions of time and light in new ways.

Essay by Mark A. Cheetham

James Nizam is a Canadian artist based in Vancouver. His practice investigates photography within an expanded field of the sculptural and seeks to unveil the possibilities for the photographic image to activate space. He has exhibited in Canada and internationally, most recently at Galerie Clement and Schneider in Bonn, Musée Regional de Rimouski and Dazibao in Quebec, Kunst Im Tunnel in Dusseldorf, The Sharjah Art Museum in the United Arab Emirates, and the Vancouver Art Gallery in Vancouver. He has forthcoming exhibitions at Fotogalerie Wien in Austria, and REITER Galerie in Berlin. Nizam holds a BFA from the University of British Columbia and is represented by Birch Contemporary in Toronto, Reiter Galerie in Leipzig, Berlin, London, and Gallery Jones in Vancouver.

Mark A. Cheetham has published extensively on historiography and art theory, abstract art, and art in Canada. A Guggenheim Fellow, he has also received writing and curatorial awards from the College Art Association of America and the Ontario Association of Art Galleries. His book Landscape into Eco Art: Articulations of Nature since the ‘60s will appear with Penn State UP in 2017. He is a professor of art history at the University of Toronto.

1 October 2016 - 16:03, by , in Exhibitions & Fairs, Comments off

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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.

 

 

7 September 2016 - 14:07, by , in Exhibitions & Fairs, Comments off

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.

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Richard Storms, “Financial District”, 2016, mixed media on canvas, 60″ x 84″.

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Jeff Depner, “Echo”, 2016, mixed media on canvas, 22″ x 14.5″.

7 September 2016 - 13:58, by , in Exhibitions & Fairs, Comments off

GEORGE VERGETTE: ORPHISMIC

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.

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Life’s Too Short Not To Be In Love, 2016

Oil and acrylic on canvas over panel

72″ x 48″

20 May 2016 - 12:12, by , in Exhibitions & Fairs, Comments off
TATA_17(final)
“Things As They Are #17″, archival inkjet print, 20″ x 16″, edition of 3.

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.

Artist Statement:

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.

13 May 2016 - 12:57, by , in Artists Press, Gallery Jones News, Comments off

Helen Wong interviews Paul Morstad:

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http://www.sadmag.ca/blog/2016/5/3/interview-paul-morstad

5 May 2016 - 16:14, by , in Exhibitions & Fairs, Comments off

JONATHAN FORREST: NEW PAINTINGS

BRAD HOWE: NEW SCULPTURES

Opening reception: Saturday, March 5, 2 – 4pm

Exhibition continues until March 30th.

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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.

5 May 2016 - 15:38, by , in Exhibitions & Fairs, Comments off

Opening reception: Saturday, January 30, 2 – 4pm 

Exhibition continues until February 27th.

An exhibition in celebration of Otto Rogers’ 80th year and his influence on contemporary abstract painting into the 21st century.  Born in rural Saskatchewan in 1935 and now living in Prince Edward County, Ontario, Rogers has been exhibiting actively since the 1950s. Central to his practice is the notion that art can present “motion and stillness simultaneously” and that opposing elements of a painting need to be worked into “an order that will sustain them as a whole and pure thing”. He has kept in motion the idea that making art can be a spiritual endeavour and the results sublime.

Image: “Four Seasons in a Landscape”, mixed media on panel, 36″ diameter.

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