I was born in 1972 and grew up in rural Ontario. I was fortunate to have a big ancient barn to play in. Despite an acute allergy to hay, I would build elaborate hay forts despite the itchy consequences. We also had woods and swamps nearby to explore. During those weeks of the summer when too much pollen was about, I'd retreat to my room where I would draw, build elaborate things out of lego, and make primitive computer graphics on my Commodore 64. If I really liked something I'd built out of lego, I would draw instructions on graph paper for how to build it again.
I moved to Toronto to attend the Ontario College of Art & Design in 1993. There I studied illustration. As of 2008 I work in visual effects for film and TV as an environment artist, though I still find time for drawing and doing the occasional illustration.
MATHEW BORRETT Cloudcar, 2008 Pencil, 7 x 7 inches
MATHEW BORRETT Foundations, 2010 Fineliner, 15 x 22 inches
MATHEW BORRETT Hypnataph, 2012 Digital, 15 x 22 inches
MATHEW BORRETT Hypnagogic City, 2002 Fineliner, 15 x 22 inches
MATHEW BORRETT Uptown Trail, 2008 Pencil, 10 x 20 inches
Bourke is a painter who values the aesthetic and emotional potential of a rich and varied material surface left as a trace of the process of creation. A good painting is as much a depiction, as it is a history of the artist’s observations, decisions and judgments: a pentimenti of the process of creation. He uses the encaustic medium because its working properties support transparency of process and amplify physical presence.
Bourke depicts simple acts occurring in brief measures of time; the flash of a match, the shake of a dog, the sifting of sand, juice squeezed from fruit, the pour of paint, a glance, a snap, all perhaps key-frames of a cinematic sequence. A narrative is implied, but in an interweaving of allegory and irony, the story being told often refers back to what painting is, how it is made, and what painting still symbolizes in contemporary culture.
He has studied fine art at York University, graduated from the Ontario College of Art and Design, and completed a course of computer animation at Sheridan College. He was a member of Propeller Center for the Visual Arts. He is an exhibit designer at the Art Gallery of Ontario. He has won awards in numerous juried exhibitions including OSA, TOAE, Mississauga Art Gallery and the RCA.
Dog on an ellipse #1
Fear of Fire #7
Security Guard (City hall Sequence)
I draw. Drawing-as-process has taken me into diverse media for the realization of my ideas - extended into sculptural modeling, computer animation, video installation and performances.
I use the means and methods of visual art to produce hybrid research in two domains – medical science (primary research in human embryogenesis) and collaborations with Inuit artists (the current project, ‘Art & Cold Cash’). These two life practices, dominating my exhibition history and my public presence, have been progressively generating a third ‘space’ in-between: an internal dialogue – intimate, body-centered, hesitant, sexual.
One strong cultural and professional context for my research and production is my collaborations, since 1969, with Inuit artists in Nunavut. Currently (2003-12) this collaboration takes the form of art-based research in Baker Lake (Qamanituaq), and exhibitions as a member of the five-person collective Art & Cold Cash. A print record of these researches and exhibitions, the book Art and Cold Cash, was published by YYZ Books in January 2010 and in FUSE MAGAZINE, Money, Aesthetics and Double Difference (issue 35-2, NORTH, Spring 2012).
I have since 1976 participated as a visual artist in medical research projects focusing on human embryological development; work published in scientific contexts. Parallel with these projects, I produce studio based installations that deconstruct my scientifically focused research and attempt to reify the creative processes at work in my trans-disciplinary practice. The video projection installations, Genesis of Breath, and Fatemap: Would you like to know what will happen? are current examples. And the third ‘space’, the intimate bodily spaces in-between, is motivating Dark Body, a small, highly focused exhibition drawn from five projects at the intersection of art and medical research. These drawings instantiate the question: Could the body stand in the place of the limen between two historically defined solitudes? Can the body be represented as an ontologically transparent layer through which art and science are mutually visible?
The drawings in Dark Body range from my modeling genital embryogenesis as a member of a research team at Children’s Hospital, Winnipeg, Canada, to the interactive touch sensitive audio drawing titled Occam’s Hand, which tracks my personal recovery from cervical spine surgery through drawing and songs created from sounds recorded in the MRI. The five interactive songs that play in response to the instruction – “Caress the drawing firmly”, were composed and recorded by sound artist Chandra Bulucon.
Dark Body was curated by artist Andre Jodoin, and is accompanied by his essay: Dark Body (an introduction) “In Dark Body I examine some works by Jack Butler in my first attempt to think about relations between a theory of practice and a theory of art with respect to a specific artist and their works. It appears to me that art criticism often conflates techniques of production with practices. My aim here is to simply raise that issue, sharpen the distinction, and consider the appropriateness of a theory of art to a theory of practice.” AJ
Occam's Hand,(touch sensitive audio drawing installation, in collaboration with sound artist Chandra Bulucon and software designer Doug Back), 2014.
The five interactive songs that play in response to the instruction – “Caress the drawing firmly”, were composed and recorded by sound artist Chandra Buluco.
Video recorded by Andre Jodoin
Occam's Hand, 2014
Graphite on paper, 38 x 50 inches
The Red Steps: Love and a Fear of Heights, 2013
Graphite and gouache on paper, 25 x 19 inches
JACK BUTLER Talking: A lover's discourse, 2010 Gouache and graphite on paper, 20 x 40 inches
JACK BUTLER The Nine Circles of Hell, 2011 Gouache and graphite on paper, 25.5 x 20 inches (based on Wm. Blake’s roughly drawn sketch for ‘Inferno’, Canto 11, lines 1-15, these are mind-maps; writing becomes drawing becomes writing to produce layered emotional topographies, a palimpsest of nine visceral ‘sections’, each a feeling-body, picture-body confronted with illness.)
JACK BUTLER In the MRI: coffin and chrysalis, 2012 Charcoal on paper, 51 x 28 inches.
JACK BUTLER From the side, 1968 Lithograph, 4/7
JACK BUTLER Cherie 1, 1968 Lithograph, 5/7
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches (upright view)
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 1
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 2
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 3
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 4
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 5
JACK BUTLER Colossus, 1968 Acrylic on Canvas, 111 x 79 inches detail 6
Tonia Di Risio
In her studio practice Tonia employs time-based media including photography, video and audio recording. She offers about her practice:
I endeavor to examine the ways in which identities are formed in relation to ethnicity. As a first generation Canadian-Italian, who is neither fluent in the language nor religious, I see my Italian heritage dissolve and diffuse within mainstream North American culture. In gathering, drawing and collecting images and objects I associate within a specific female cultural identity, I attempt to rediscover customs and artifacts in order to form a history. My research includes an exploration of social position and lifestyle in relation to the women of my past. This investigation is not to transcend their lives but to look to the past as a way of understanding and informing the present through the variouspermutations of social customs and norms. My work has developed through ongoing investigations of gendered ethnicity in relation to domestic issues, including housekeeping, home maintenance, food preparation, interior decoration and relationships to the miniature.
A multi media artist who lived and worked in Halifax for 15 years, Tonia Di Risio relocated to Southern Ontario in 2012.She received a BA in Art and Art History from the University of Toronto and Sheridan College and an MFA from the University of Windsor. She has exhibited across Canada and has been the recipient of Canada Council and Nova Scotia arts grants.
TONIA DI RISIO Feed, video still from “Cooking In Italy”, 2010.
TONIA DI RISIO Feed, single channel video installation, 2010.
TONIA DI RISIO Pasta Table, 2010
TONIA DI RISIO Pasta Workshop, Eyelevel Gallery, Halifax, 8 August 2010.
Teri Donovan is a Canadian artist based in Toronto. She graduated from York University, and The University of Toronto, and has studied at the Ontario College of Art, The Toronto School of Art, George Brown College, and The Baltimore Institute College of Art in Maryland.
In 2008, she was featured in Carte Blanche Vol. 2: Painting, a survey of contemporary painting in Canada.
Her practice incorporates a variety of drawing and painting media and is concerned with contradictory and parardoxical aspects of everyday life.
Recent work focuses on context, time, and memory, and the foundational roles that past, present, and future play in determining culture as well as selfhood. Edmund Husserl expressed this succinctly in his statement, we are " ….. always in the present and still in the past, and already in the future."
Donovan's mixed media pieces combine abstract elements, wallpaper imagery, and collage as metaphorical markers of time. These are woven over, under, and through figures suggesting an interdependence between tenses and the fundamental nature of chronology in the formation of self. At other times elements are employed to create images and patterns that echo ongoing complexities of everyday realities.
For the artist's website, twitter and blog, please visit:
TERI DONOVAN Circa 2009 Mixed media on acoustic ceiling panel 20 x 24 inches
TERI DONOVAN Circa 2010 Mixed media on acoustic ceiling panel 17 x 25.5 inches
TERI DONOVAN Aphrodite Mixed media on watercolour paper 33 x 43 inches
TERI DONOVAN Remains, detail Mixed media on Mylar, 7 x 15 feet
Soheila K. Esfahani
Soheila K. Esfahani grew up in Tehran, Iran, and moved to Canada in 1992. She received her BA in Fine Arts from the University of Waterloo and her Master of Fine Arts degree from the University of Western Ontario. Esfahani has received numerous awards and grants including the Research/Creation Grant in Fine Arts through Social Sciences & Humanities Research Council of Canada. As part of the SSHRCC grant, Esfahani is currently a participant in a research/creation group entitled Immersion Emergencies and Possible Worlds: Engaging Water as Culture and Resource through Contemporary Art. Esfahani’s work is represented in public and private collections including the Canada Council’s Art Bank. She works from her studio at Kitchener’s artist–run centre, Globe Studios.
Esfahani’s art practice navigates the terrains of cultural translation with a specific focus on translational activities that occur in the art practices of culturally diverse contemporary artists within the context of Western society. Her work explores the processes involved in cultural transfer and transformation by exploring the theoretical frameworks of Walter Benjamin’s concept of translation as a departure from the original and Homi Bhabha’s notions of the Third Space and in-betweeness. In her art practice, Esfahani explores the notion of Third Space not only as an abstract concept, but also as an actual site produced in installation art, where the viewer has to negotiate the artist’s intervention.
In her recent installations, Esfahani often incorporates shipping pallets to refer to the concept of translation as the transfer of culture. Cultured Pallets series are transient installations which grow out of her ongoing process of marking shipping pallets with an email address ( firstname.lastname@example.org) and a variety of collected motifs and designs. The cultured pallets are then sent back into circulation. She completes the project by tracking the pallets after they leave the exhibition and engaging in correspondence with the individuals who find them. These installations focus on the notion of translation in its etymological meaning as the process of ‘carrying across’ and employ shipping pallets as metaphors for the transfer of units of ‘culture.’
SOHEILA ESFAHANI My Place Is Placeless, 2013 Laser-etched wooden shipping pallets
SOHEILA ESFAHANI My Place Is Placeless (detail), 2013 Laser-etched wooden shipping pallets
Adam Filek's work exists in the forms of live or documented performance, using methods of meditation, endurance, ritual and often carries with it notions of poetic and archetypal investigation. Adam aims to represent the divide between man and nature, invite connection with environment and the self, and to re-contextualize this divide as an optimistic return to natural and manual methods of thought and action.
Much of his current work has centred around coming to terms with grief or loss through forming physical relationships with the inanimate, contrasting the passion of intimacy alongside the all-encompassing nature of rock, water, and land mass. In this way Adam hopes to create scenarios that are at once seductive and abhorrent, absurd yet emotionally understood.
Adam Filek grew up in rural Ontario and now resides in Toronto. He is a graduate of OCAD University's Sculpture/Installation program, has exhibited throughout Toronto and internationally.
ADAM FILEK Drowning, 2015 photograph, 31 x 25 inches
ADAM FILEK Rock Study, 2014, documentation of performance
ADAM FILEK The Futility of Small Movements in the Presence of Endings (Boulder Fuck), 2014 video, endless loop
ADAM FILEK Bluffing, 2014 photograph, 41 by 38 inches
I grew up on my father’s construction sites and later I worked on them.This foundational experience shaped my interest in how we perceive, navigate, shape, and represent space.Space, while tangible, is decidedly abstract, a tension I have repeatedly explored through drawing, sculpture, and installation.Specifically, I have looked at the relationships amongst architecture, landscape, and cosmology.By addressing these different scales of space, I could question the boundary between the tangible and the abstract, and much of my past work represented spaces beyond physical comprehension, such as magnetic fields, outer space, and the ocean.
Recently, my work has returned to my roots in construction.I am fascinated by the form and function of job sites.As provisional zones where architectural space is portioned from a larger landscape, job sites exist as hybrids of landscape and architecture: they mimic both but are neither.They evolve as transitional architectures of scaffolding, planking, framing, etc., which in turn become a landscape through which to navigate the experience of space taking shape.I’m interested in referencing the material and visual language of job sites to create drawings, sculpture, and interactive installations.
Originally from the coast of Maine, Leah Garnett lives and works in Sackville, New Brunswick.She has exhibited in Canada, the US, and Germany, and attended residencies at the Fire Station Artists' Studios (Dublin, Ireland), the MacDowell Colony (Peterborough, New Hampshire), the Banff Centre for the Arts, and Struts Gallery.She received her BA Honors from Brown University; BFA in Fine Arts from the Nova Scotia College of Art and Design; and MFA from the University of Guelph.
LEAH GARNETT Landscape Drawings, 2014. Pencil crayon, pen, marker, gouache, and eyelets. Dimensions vary: roughly 1 x 2 x 2 inches to 5 x 5 x 7 inches.
LEAH GARNETT Junkpile, 2013. Graphite, pencil crayon, and gouache, 22 x 30 inches.
LEAH GARNETT I own five wooden senses, and a sixth like water, 2012. Used wooden planks, hand-milled poplar and pine, cement, plywood, cedar shingles, and twine. Detail view of larger installation. House size: 4 x 3 x 2 inches.
LEAH GARNETT Arched, 2010. Cedar shingle tips and house stain (leftovers from job construction sites). Two in a series of six. Smaller arch: 18 x 8 x 18 inches. Larger arch: 20 x 8 x 18 inches.
Philip Hare is a multidisciplinary artist, working primarily with textiles. His work examines themes relating to sexuality, gender and power, often through a very personal lens. Hare’s preferred materials include felt and embroidery thread, as well as found objects that range from clothespins to tampons. His hand sewn assemblages are usually quite simple but often develop into large installations. Sometimes Hare himself becomes a part of the work.
Philip Hare grew up in a big family in rural Ontario (which may explain his proclivity for artist collectives). He moved to Toronto in 1979 and has an established artistic practice there. He received a diploma in Graphic Design from Sheridan College A.A.T. and has studied at Ontario College of Art and Design and Open Studio. Hare was a member of Propeller Centre for the Visual Arts from 2006 to 2016 and is an active member with Red Head Gallery, Gallery 1313 and Gerrard Art Space in Toronto.
PHILIP HARE Magdalene Mask Mixed Media 22 x 17 inches
PHILIP HARE For Crying Out Loud mixed media 22 x 17 inches
PHILIP HARE Wild Boy Blanket felt, buttons, muslin 48 x 28 inches
Gillian Iles is a Toronto-based artist who exhibits in cities such as New York, San Francisco, Brooklyn, Chicago, Miami, Montreal and Toronto. In Toronto, she has exhibited with Katharine Mulherin and curator Mia Nielsen. Gillian was a founding member of two co-operative artist-run galleries in Toronto - Propeller and Loop. Her work has been highlighted in Mix Magazine, Toronto Life Magazine, Now Magazine, Eye Weekly as well as the National Post and The Globe and Mail. She is featured in the book Carte Blanche Volume 2: Painting. Gillian is part of Blunt Collective and Glasshouse Collective. Gillian is currently teaching at OCADU, Sheridan College and the Toronto School of Art.
Gillian’s paintings combine rich vital realism and directed content with formal investigation of space, planar fracturing of space and scale, shifts between flat and modeled surfaces and a general consideration of the viewer as the final subject within the piece.
Ongoing areas of investigation are the existence of social ideals, social orders and idealized lifestyles especially as they pertain to Western culture; their origins, evolution and their role in forming public ideology. The role and influence of these social norms and their tenuous permanence are of particular interest. Specifically, their influence on individuals perceived and projected identities, the outsider’s perception of them and the primal inclination for generational shifts and challenges to the accepted ideals.
Imagery which captures or reflects these social ideals are used directly or are altered and manipulated to fabricate suggestive narratives. Bringing together generalized or iconic imagery sourced from the mass media with imagery that is personal, specific and unique creates new hybrid imagery with primary and secondary narratives occurring simultaneously. These multiple narratives are intentionally discordant, but not altogether unrelated, and serve to directly influence and redirect each other’s interpretation. This directly relates to the ongoing interest in the manufacturing of public ideology and the role of imagery in affecting bias and interpretation.
GILLIAN ILES That’s not how we do things here 02 , 2011 Oil, acrylic and pastel on canvas 40 x 48 inches
GILLIAN ILES That’s not how we do things here 05, 2011 Oil, acrylic and pastel on canvas, 54 x 48 inches
GILLIAN ILES That’s not how we do things here 02, 2011 Oil, acrylic and pastel on canvas, 40 x 48 inches
GILLIAN ILES That’s not how we do things here 06 (detail) , 2012 Oil, acrylic and pastel on canvas, 70 x 140 inches
Margie Kelk's artistic practice reflects contemporary concerns about cultural history and politics. She takes an exploratory and experimental approach as she appropriates and reconstructs visual fragments of ideas through diverse artistic media which include ceramic sculpture, drawing and painting, video and photography. She has traveled extensively in China and Latin America, and much of her earlier artistic production revolved around the cultures of these two regions. Concern over the alienation which affects so many people in today's world of social media networks led Kelk to direct her attention to the plight of disconnected individuals living on the edge of society. In 2012, she produced a series of encaustic drawings, and over 200 ceramic heads, individuals without bodies,--which stood in definite tension with the environment surrounding them. She is now exploring the relationship which exists between the mechanical and the human. Her works are a reflection on contamination, the interstices of flesh and machinery, a scraping away of biological and mechanical realms that leaves neither intact.
Kelk has been exhibiting her artwork in Canada since 2000. She was on the Board of the Propeller Centre for the Visual Arts (Toronto, Ontario) for eight years, and was Chair for six of them. Since 2009 she has been an active member of Red Head Gallery (Toronto), and she is now gallery Chair. She is also represented in Florida, USA, by the Dixie Art Loft in West Palm Beach, and the Clay Glass Metal Stone Gallery in Lake Worth. Her China-based books and drawings were represented by the Headbones Gallery in Toronto in 2006-7, and she was a member of Gallery 1313, also in Toronto, from 2003 until 2007. She has received prizes for several of her works, and has been awarded grants by the Ontario Arts Council. Margie is a graduate of Wellesley College, The Johns Hopkins University (PhD.), and the Toronto School of Art degree program.
MARGIE KELK Sarcophagus, 2013 Glazed ceramic and swarf, 10 x 16 x 18 inches
MARGIE KELK Speed Range, 2012 Inks on encaustic, 36 x 36 inches
For over a decade, Ian Mackay has explored a quiet and intimate formalism to produce works that invoke a contemplative feeling while simultaneously referring to motifs, materials and strategies from an array of periods on the art-historical timeline. His paintings are open-ended investigations of how mark making shapes aesthetic experience. Sometimes the result of carefully observed depiction, or a mash-up of modernist and anti-modernist motifs, his paintings are both surprising and familiar. In a fanning-out kind of questioning, Mackay pursues interesting tensions between accident and intention, surface and depth, materiality and illusion, all the while searching for the immanent in painting.
Ian Mackay is a Canadian artist living in Toronto where he maintains his studio. He completed his AOCA at Ontario College of Art in 1980 with studies in Photo-Electric Arts. In 2009 he completed a BFA at OCAD in Curatorial Studies and Integrated Media. Since 2009 Ian has concentrated exclusively on his painting practice and his work can be found in private collections.
IAN MACKAY, Painters' Garden, 2016 Oil on canvas, 40 x 48 inches
IAN MACKAY Roundabout, 2016 Oil on canvas, 40 x 30 inches
IAN MACKAY From a Vanishing Point, 2016 Oil on wood, 40 x 30 inches
IAN MACKAY Interference II, 2016 Oil, Alkyd Enamel, Wax on wood, 16 x 12 inches
IAN MACKAY Dit-Dah I, 2014 Oil on canvas, 24 x 48 inches
IAN MACKAY Study, Checkerboard VI, 2014 Oil on wood, 28 x 35 cm.
Nancy Anne McPhee
Nancy Anne works with themes of knowledge and sight in drawings, textiles and wallpaper installations. Her practice is concerned with unsettling the eye and creating restrained images with stripes and tone-on-tone. McPhee’s mediums ask something of the viewer, to reposition themselves in order for the image to become visible or to generally participate in a more active viewing process.
Nancy Anne McPhee is originally from Alberta and now based in Hamilton, ON. She has a BFA from the University of Victoria, an MFA from Concordia University, and an MLIS from Dalhousie University, and has worked as an instructor at Concordia University and NSCAD University. McPhee has exhibited in North America and internationally in commercial galleries and artist-run centres, and has received funding from the Canada Council, the Ontario Arts Council, and the Conseil des arts et des lettres du Québec.
Adumbrate 5 (after Else Bostelmann), 2011 Gilt on paper, 7.5 x 9.5 inches Photo by Guy L’Heureux
Deep Blue Sea, 2010 Cotton jacquard weaving, 40 x 57 inches
Polari Flags, 2011 Nylon, 36 x 60 inches
Peggy Taylor Reid
My lens-based practice is concerned with the indexical recording of everyday objects. A fascination for the human obsession towards organizing and cataloguing underscores my work, yielding photographs that have evolved to address the index and typological systems. My images are poetic reflections that document the hidden complexity of items and elements in the world, in an exploration of the traces and shadows of objects within our physical environment. Today with the knowledge of impending ecological crises I believe our sensitivity towards our natural environment is increased. Deeper connections to contemporary social issues such as consumption, waste, genetic manipulations, monocultures, and the passage of time are among the themes that emerge and invade the objects that I photograph.
Bio Peggy Taylor Reid holds a BFA from the University of Ottawa and has exhibited her work across Canada. Taylor Reid has participated in residencies in Canada and the US including the Banff Centre for the Arts in Alberta and the Vermont Studio Centre. She is a long time member of Gallery 44 and the Red Head Gallery of which she co-chair. The recipient of multiple grants from the Ontario Arts Council, her work can be found in the collections of Sir Wilfred Laurier University, Kitchener, the Museum of Nature, Ottawa, the Kitchener-Waterloo Gallery as well as numerous private collections. Taylor Reid currently lives and works in Caledon and is represented by Lonsdale Gallery.
PEGGY TAYLOR REID form follows(dis)function, cake box; 2016 13x13 inches
PEGGY TAYLOR REID form follows (dis)function, Software; 2016 30x30 inches
PEGGY TAYLOR REID form follows (dis)function, Raspberry Passion Fruit Tea; 2016 30x30
PEGGY TAYLOR REID form follows (dis)function, Ink Cartridges; 2016 30x30 inches
PEGGY TAYLOR REID form follows (dis)function, Helmet; 2016 30x30 inches
PEGGY TAYLOR REID form follows (dis)function, gift tags; 2016 13X13 inches
PEGGY TAYLOR REID Flash Freeze_09_18_13-961, 2013 Chromira, 30 x 40 inches
PEGGY TAYLOR REID Vortex_3-07-16-12, 2012 Digital Pigment Print, 23 X 23 inches
PEGGY TAYLOR REID Vortex_6-10-19-122012 Digital Pigment Print, 23 X 23 inches
PEGGY TAYLOR REID Vortex_8-09-05-13, 2013 Digital Pigment Print, 23 X 23 inches
PEGGY TAYLOR REID Vortex_14-09-05-13, 2013 Digital Pigment Print, 23 X 23 inches
Christina’s practice is based primarily in drawing, painting and sound. Through her work she has been examining the relationship between place and identity and the intimate connections between people and the places they inhabit. In her recent images she explores the intangible and mysterious qualities of "night" or "darkness". The work is concerned with the symbolism associated with “night” – in particular the association with the unconscious, transformation, and absence / presence. She is particularly interested in how these ideas influence and intersect with the physical experience of night and darkness. This series focuses on new interpretations of light, colour and darkness. Hints of narrative and a play between representation and abstraction add emphasis to elements of mystery, create ambiguities, and question the boundaries between the real and the imaginary.
Christina Sealey is an artist and musician based in Hamilton, Ontario. She holds an MFA in Drawing and Painting from the Edinburgh College of Art, Scotland and a BA (Hons.) from McMaster University. Christina has exhibited throughout Canada and the UK in both public and commercial galleries and artist-run centres and regularly performs throughout Europe and North America. Her work is represented in private, corporate and public collections. She has been awarded grants for her painting and audio work from both the Ontario Arts Council and the Canada Council for the Arts and from private foundations including the Pollock-Krasner Foundation and Elizabeth Greenshields Foundation. Christina is currently teaching at OCAD University.
CHRISTINA SEALEY The Park, 2015 Ink, watercolour, graphite on paper, 16 x 16.5 inches
CHRISTINA SEALEY Beneath the Surface, 2015 Oil on canvas, 48 x 60 inches
CHRISTINA SEALEY Descending (Dundurn St), 2015 Ink, watercolour, graphite on paper, 28 x 19 inches
CHRISTINA SEALEY At Night (Hollie), 2011-2014 Oil on canvas, 60 x 40 inches
Sally Thurlow is a multi-disciplinary artist living on the shores of Lake Ontario near Toronto. Her practice, based in sculpture, installation, photography and painting, invites the contemplation of humanist, environmental, cultural, and spiritual issues as they manifest in our daily lives. Thurlow’’s material choices are chosen carefully, symbolic within the meaning of her forms, be they driftwood, live wood, woven fabrics, aluminum mesh, steel, fibreglass, paper, photography, painting, plexiglass, or robotic. For several years she has been exploring the dynamic range of archetypal figurative forms using driftwood, and other ephemera collected in her wanderings of inquiry often leading to vital juxtapositions. Increasingly sophisticated, her work has evolved to a new kind of surrealism that includes the manufactured, the machined, and the robotic.
In her latest exhibition, SYSTEMS FAILURE: AUGUST 31 TO SEPTEMBER 24, 2016 these forms grieve the breakdown of family, to larger groups - friends, corporations, political parties, to world organizations, in an ever-spiralling broken system. Here we confront the visual force of four alienated characters who all have rib-cages - familiar yet uncomfortably strange… with expectations of each other.
Sally Thurlow received a BA majoring in Fine Arts from the University of Toronto, finishing with Cultural and Environmental Studies at Trent University, with significant earlier studies at OCAD and George Brown College. She has given numerous artist talks and workshops at educational institutions and public galleries. Her work has been shown internationally and she has been the recipient of various Ontario Arts Council Awards. She is a member of The Iris Group and The Red Head Gallery, both artists’ collectives. Her work is held in private collections across Canada, and at The Robert McLaughlin Gallery in Oshawa ON. For more information please visit her website: www.sallythurlow.com and You Tube: Sally Thurlow, for a four minute video.
Expectations I, 2015. Cedar driftwood, cedar branches, acrylic paint, mixed media 33 x 46 x 33 cm Photographs by Sally Thurlow
Expectations II, 2016 Spruce tree, cedar branches, foam, acrylic paint, steel base 50 x 38 x 28 inche
Expectations III, 2016 tree limb, alginate, acrylic, oil paints, thistle blows, foam, steel base 94 x 26 x22 inches
Expectations IV , 2016 Acrylic, styrofoam, wood, steel, acrylic paint, Roomba vacuum cleaner, 52 x 13 x 13 inches
The Fascinator, 2015. Tree limbs, wood house, LED light, glass, bird’s nest, nylon stockings, acrylic paints, wood stain, 96 x 30 x 32 inches.
Black Madonna, 2014. Tree root, wood stains, 28 x 28 x 24 inches.
Agony, 2013. Tree root, steel, acrylic, 16 x 20 x 14 inches.
Inspired by an aesthetic of life in which art, science, medicine and ecology intersect, Elaine Whittaker’s transdisciplinary works consider biology as contemporary art practice. Her artworks explore the forces that make us human, from the foundational processes and materials needed to form an organism, to the microscopic world of cellular ecologies. Her practice is principally based in installation, and includes sculpture, painting, digital imagery and sound.
Recent works have centred on the aesthetics of disaster, the fear of pandemics, and on the body as a site of infection reflecting narratives and elements of anxiety that are found in popular culture, scientific research, and personal experience. Her art has been shown in solo and group exhibits, nationally and internationally, encompassing themes of water, blood, biotechnology, the genome, AIDS, cloning, climate change and infectious disease. These include, among others, Ontario Science Centre (Toronto, Canada), Science Gallery (Dublin, Ireland), ARC Gallery (Chicago, USA), Plug In Institute for Contemporary Art (Winnipeg, Canada), and the Contemporary Art Institute of Detroit (US).
Whittaker has been an invited participant in residencies, workshops and festivals on science, art and medicine, and a featured artist on websites such as Sciengage, MEDinART, and Photomediations Machine. Artworks have also appeared in literary, academic, and medical periodicals. She is a recipient of grants from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, and holds a BFA (York University, Toronto), Art Diploma (Toronto School of Art), and BA (Carleton University, Ottawa).
In the fall of 2015 her work will be profiled in a new book by William Myers, entitled BioArt: Altered Realities, published by Thames & Hudson.