21 September 2012 - 16:10, by , in Artists Press, Comments off

Canadian Art: Fall 2012

James Nizam’s, latest body of work: Trace Heavens, debuted at Gallery Jones in May 2012.

21 September 2012 - 15:44, by , in Artists Press, Comments off

Kristin Bjornerud will be part of a Curator’s Conversation on Sunday September, 23rd @2pm. The artists talk coincides with, Odd Occurrences, at the Seymour Art Gallery until October 14, 2012.

3 August 2012 - 17:13, by , in Artists Press, Gallery Jones News, Comments off
Odalisque, 32 x 32 x 44 inches, ceramic, wood and cloth.

“I’ve always been someone who’s worked with my hands, whether it’s been fixing machinery on the family farm or doing renovations. So I always used materials and always felt that materials weren’t really neutral. They had a history and a context.”

Click here for an interview with Clint Neufeld for Canadian Art Magazine, written by Leah Sandals, discussing Neufeld’s lounging ceramic engines.


22 May 2012 - 12:51, by , in Artists Press, Comments off

The world’s longest-running photography magazine (established in 1854), recently featured the new exhibition by James Nizam, view it here: BJP: James Nizam

3 May 2012 - 13:35, by , in Artists Press, Comments off

Trace Heavens, James Nizam’s latest exhibition was reviewed this week in Canadian Art, read it here.

21 March 2012 - 14:28, by , in Artists Press, Uncategorized, Comments off
"Harvest's End", 2011, 42" x 42" x 84", ceramic

Winner of the John and Joyce Price Award of Excellence for the 2010 edition of the BAM Biennial: Clay Throwdown!Dirk Staschke returns to Bellevue Arts Museum with his first museum solo exhibition, Falling Feels a Lot Like Flying.

Inspired by the unsettling and beautiful Flemish and Dutch Vanitas still-life paintings of the 16th and 17th centuries and the celebration of excessive ornamentation of the Baroque period, Staschke’s monumentally lavish yet hollow ceramic work uses symbols of abundance to offer
a breathtaking commentary on craving, over-consumption, and excess in our times.

Like paintings of the Vanitas genre, which—through a display of symbols such as skulls, fresh and rotting fruits and vegetables, hourglasses, butterflies and dead fowl to name a few—invite the enjoyment of earthly pleasures while forewarning the viewer of the fleeting nature of life and the futility of amassing material possessions, Staschke’s sculptures capture and freeze the beauty and ephemerality of a moment in time. His references are eloquent: a bounty of vegetables and seafood is artistically arranged over a table with fruits smashed and left open to rot; game and fowl, the hunter’s catch, stiffly hang from hooks on the wall; butterflies and taxidermy birds remind us of the levity and colorfulness of life, while dangerously stacked mounds of buttery sweets in their tempting deception, invite us to gorge while it lasts. Everything is offered to the viewer’s eye as a bounty captured in the precarious instant just before or during collapse and decay.

"Confectional Facade", 9' x 4' x 10.5"

"Consuming Allegory", 32" x 75" x 75", ceramic

"Consuming Allegory", detail

"No Strings Attached", 2012, 12" x 30" x 65", ceramic

"Wishing Well, Knowing Otherwise", 2011, 48" x 48" x 79", ceramic
17 February 2012 - 17:36, by , in Artists Press, Comments off

Click the image below to view a video preview of Superfortress by Chris Woods, opening at Gallery Jones in April 2012.

20 January 2012 - 17:05, by , in Artists Press, Comments off

From January 14 – May 21, 2012.

"Making the Land", watercolour on paper, 56cm x 38cm

From the curatorial statement by Melissa Bennett:

Kristin Bjornerud’s lyrical watercolours convey myths and legends, dreams and superstitions. This exhibition features recent works including several made during a residency on the island of Gotland, Sweden in 2010 as winner of the Brucebo Fine Art Foundation scholarship, which is juried in part by the Art Gallery of Hamilton. The Foundation was established by William Blair Bruce, a celebrated Hamilton painter of the turn of the 20th century, and his Swedish-born wife, artist Caroline Benedicks Bruce to support young, emerging artists.

During her summer residency, Bjornerud’s immersion in Gotland’s fabled history and mythological atmosphere had great influence on her works, and she incorporated her usual set of female characters drawn from life experiences. The paintings show scenes of women in tableaux, often in a mode of creation or peculiar activity–whether in Making the Land which shows a woman knitting a large textile piece that flows out like a landscape from her lap; or in A Long View, where a woman gazes out at sea, and her view is captured in a surrealistic manner. Bjornerud’s scenes are playful, laden with references to women as producers, and to fables intertwined with historic events.